THE  LIBRARY 

OF 

THE  UNIVERSITY 
OF  CALIFORNIA 

LOS  ANGELES 


MUSIC 
LIBRARY 


THE 


THEORY  AND   PRACTICE 


OF 


MUSICAL    FORM: 


ON  THE   BASIS   OF 

LUDWIG    BUSSLEK?S 
"MUSIKALISCHE    FORMENLEHRE." 

FOR  INSTRUCTION  IN  COMPOSITION  BOTH  IN  PRIVATE  AND  IN  CLASSES. 


BY 

J.    H.    CORNELL. 


NEW  YORK : 
G .     SCHIRMER. 

1900. 


COPYRIGHT,  1883,  BY  Q.  SCHIRMKB 


6104 


Electrotyped  by  SMITH  &  McDouoAL,  8a  Beekman  Street,  New  York. 


Music 

Library 

vrr 


PREFACE. 


,  in  art,  may  be  comprehensively  defined  as  the  external 
-*-  shape  and  order  in  which  artistic  conceptions  are  presented, — in 
other  words,  as  the  outward  expression  of  the  subject-matter  or 
import  of  the  art-work.  Accordingly,  there  may  be  as  many  forms 
as  art-works,  although  numbers  of  these  individual  forms  may  and 
actually  do  agree  in  certain  essential  features.  Now,  the  summary 
of  the  principal  features  in  which  a  number  of  art- works  agree,  is 
called  Art-form. 

The  necessity  of  form  to  the  special  art  of  music  is,  perhaps,  not  so 
immediately  obvious  as  in  the  case  of  the  other  arts  ;  yet  it  is  certain 
that  without  an  adherence  to  the  laws  of  form  a  coherent,  intelligible 
musical  composition  is  as  inconceivable  as — for  example — a  picture,  a 
sculpture,  or  a  building,  without  plan  or  design.  A  piece  of  music 
(if  indeed  music  it  should  be  called)  without  a  determinate  tonality 
or  key-relationship,  without  harmonic,  melodic,  rhythmic  order  and 
symmetry — in  a  word,  without  form, — is  nothing  else  than  a  tonal 
chaos.  Hence  the  absolute  necessity  to  the  would-be  musical  com- 
poser of  the  study  of  the  laws  of  musical  form, — a  necessity  from 
Avlrich  no  natural  gifts,  not  even  the  possession  of  genius,  can  dispense 
him.  "  Form," — says  ECKERMANK"  (Beitrage  zur  Poesie) — "  is  the  re- 
sult of  the  efforts,  through  thousands  of  years,  of  the  most  excellent 
masters,  which  every  one  cannot  too  soon  appropriate  to  himself.  It 


4  PEEFACE. 

were  a  most  insane  delusion  of  misconceived  originality,  if  each  one 
were  to  go  about  on  his  own  account  fumbling  for  that  which  is  al- 
ready on  hand  in  great  perfection.  Form  is  handed  down,  learned, 
imitated,  otherwise  progress  in  art  would  be  out  of  the  question, — 
every  one  would  have  to  begin  anew,"  etc.,  etc.  And  GOETHE,  speak- 
ing of  the  strict  requirements  of  the  laws  of  art-form,  says  that  it  is 
"  precisely  genius,  natural  talent,  that  is  the  first  to  understand  them, 
and  that  pays  them  the  readiest  obedience."  The  study  of  musical 
form,  however,  of  course  presupposes  the  knowledge  of  the  laws  of 
Harmony  and  Counterpoint)  as  an  indispensable  preliminary  condition; 
which  knowledge,  accordingly,  is  in  this  work  assumed  as  part  of  the 
student's  equipment. 

In  view  of  the  fact  that  the  means  or  organs  by  which  musical 
tones  are  produced  are  either  natural  (the  human  voice),  or  artificial 
(musical  instruments),  music  is  either  1.  purely  VOCAL  ;  or,  2.  purely 
INSTRUMENTAL  ;  or,  3.  MIXED — i.  e.,  at  once  vocal  and  instrumental. 
To  one  or  the  other  of  these  three  grand  divisions  of  musical  forms 
every  musical  composition  must  be  assigned.  Further,  each  one  of 
these  form-genera,  as  embracing  compositions  having  either  but  a 
single  movement,  or  many  movements,  is,  accordingly,  either  SIMPLE, 
or  COMPOSITE  (CYCLICAL). 

Again,  each  one  of  the  three  form-genera  has  its  various  SPECIES, 
as  follow.— A.  VOCAL  FORMS.— (a)  For  a  solo  voice:  Eecitative,  Air, 
Arioso,  Arietta,  Ballad,  Canzone,  Canzonetta,  Cavatina,  Eomance, 
Song,  Scena,  etc.— (b)  For  several  solo  voices:  Duet,  Terzet  (Trio), 
Quartet,  Quintet,  Sextet,  etc.— (c)  For  chorus  a  cappella  (with  or 
without  solo) :  Chorus,  Mass,  Psalm,  Madrigal,  Motet,  Glee,  etc.— 
B.  INSTRUMENTAL  FORMS,  (a)  In  one  movement  (simple):  the  va- 
rious Dances  and  Marches ;  Pianoforte  pieces,  such  as  Etude,  Song 
without  words,  Fantasia,  Nocturne,  etc;  Orchestral  Overture  (Opera- 
overture,  Concert-overture),  etc.— (b)  With  many  movements  (Cy- 
clical): Duo,  Trio,  Quatuor,  Sextet,  Septuor,  etc.;  Concerto,  Suite, 
Seremita,  Sonata,  Symphony,  etc.— C.  MIXED  VOCAL  AND  INSTRU- 
MENTAL FORMS,  (a)  The  various  choral  compositions  with  organ  or 
orchestral  accompaniment,  viz.:  Mass,  Litany,  Te  Deum  laudamus, 


PREFACE.  5 

Stabat  Mater,  Service,  Anthem,  Hymn,  Psalm,  Choral,  Cantata, 
Oratorio,  Passion,  etc. — (b)  Represented  on  the  Stage :  Opera,  Ope- 
retta, Melodrama,  Vaudeville,  etc. 

The  forms  chiefly  treated  of  in  this  book,  as  constituting  the  basis 
of  the  greater  part  of  the  instrumental  compositions  of  HAYDN, 
MOZART,  BEETHOVEN,  WEBER,  SCHUBERT,  MENDELSSOHN,  SCHU- 
MANN, etc.,  and  of  most  living  composers,  are  called  the  FORMS  OF 
INSTRUMENTAL  MUSIC.  Here  music  is  free  from  external  restraints 
(such  as  are  imposed  by  the  text,  etc.,  in  vocal  music),  and  rules  ac- 
cording to  the  laws  of  its  own  nature.  The  influence  of  these  forms, 
however,  on  vocal  music — especially  that  of  the  above-mentioned 
composers — is  great,  and  easy  of  demonstration. 

The  present  book  is  substantially  a  translation  of  LUDWIG  BUSSLKR'S 
"  Musikalische  Formenlehre,"  a  work  much  to  be  recommended  for  its 
clearness  and  thoroughness,  to  which,  in  its  present  English  dress,  I 
have  made  considerable  additions.  Within  the  last  few  years  much 
has  undeniably  been  done  in  our  country  (thanks  to  the  greater  number 
of  thorough  and  conscientious  teachers)  in  the  direction  of  a  more 
solid  musical  education  ;  and  among  other  results,  the  importance  of 
the  subject  of  musical  form  is  beginning  to  be  appreciated,  not  only 
by  the  professional  student  of  music  but  also  by  the  rapidly  increasing 
class  of  advanced  amateurs  desirous  of  an  intelligent  enjoyment  of  the 
masterpieces  of  composition.  The  present  addition  to  the  meagre  ver- 
nacular literature  of  the  subject  will  therefore,  as  I  hope  and  believe, 
be  welcomed  by  all  interested  in  the  cause  of  this  beautiful  art. 

The  aim  of  the  work  is,  in  one  word,  to  teach  musical  construction, 
and  its  plan  is  perfectly  simple.  Each  form,  beginning  with  the  very 
smallest  of  the  elementary  ones,  is  clearly  explained  and  copiously  ex- 
emplified ;  the  student  is  then  required  to  originate  a  musical  thought 
in  the  given  form.  As  repeatedly  stated  in  the  Exercises,  the  first 
compositions — those  of  small  extent — are  to  be  utilized  for  construct- 
ing the  succeeding  ones,  of  larger  form;  this  will  facilitate  class- 
instruction  in  musical  form,  as  but  few  pupils  are  able  to  continually 
furnish  new  material  for  these  Exercises  without  becoming  superficial 
and  careless. 


6  PREFACE. 

For  valuable  matter  gathered  for  this  book  from  GROVE'S  Dictionary, 
DR.  STAINER'S  "  Composition,"  ARREY  VON  DOMMER'S  "  Musika- 
lisches  Lexicon,"  F.  J.  KUNKEL'S  "  Melodiebildungslehre,"  BENEDICT 
WIDMANN'S  "  Formenlehre,"  HERRMANN  KUSTER'S  "  Populare  Vor- 
trage,"  etc.,  I  hereby  acknowledge  my  obligations. 

J.  H.  COKNELL. 
NEW  YORK,  JANUARY,  1883. 


CONTENTS. 


FIEST   PAET. 
THE    ELEMENTS    OF    MUSICAL    FORM. 


FIEST    DIVISION. 
THE     SECTION     AND     PHRASE. 


CHAPTER    I.— (INTRODUCTORY.) 

PAGE 

Meter  and  Rhythm 15 

CHAPTER    II. 

The  Section 18 

First  Exercise 21 

CHAPTER    III. 

Double  Section. — Phrase 22 

Second  Exercise 24 


SECOND    DIVISION. 
THE     PERIOD. 


CHAPTER  IV. 

Simple,  eight-measure  Period 27 

First  Form 28 

Third  Exercise  (1) 29 

Second  Form 30 

Third  Exercise  (2) 30 

Third  Form 31 

Third  Exercise  (3) 32 

Fourth  Form 32 

Third  Exercise  (4) 34 


8  CONTENTS. 

CHAPTER    V. 

PAGE 

Exceptional  Period-forms 84 

Four-measure  Periods 34 

Periods  of  various  unsymmetrical  Construction 35-36 

Periods  of  three  Phrases 37 


THIRD    DIVISION. 
THE    SMALL    PRIMARY    FORMS. 


CHAPTER   VI. 

The  small  two-part  Primary  Form 39 

First  Form 39 

Fourth  Exercise  (1). .   41 

Second  Form  (1)  in  Major 42 

Fourth  Exercise  (2) 42 

Second  Form  (2)  in  Minor 45 

Fourth  Exercise  (3) 47 

Third  Form 48 

Fourth  Exercise  (4) 50 

CHAPTER   VIL 

The  large — eight-measure — Phrase 50 

(1)  Independent 50 

Fifth  Exercise  (1) 51 

(2)  As  Part  of  a  Period 52 

Fifth  Exercise  (2) 53 

(3)  Double  Phrase 53 

Fifth  Exercise  (3) 55 

CHAPTER    VIII. 

The  large  (three-part)  Period 55 

CHAPTER    IX. 

The  small  three-part  Primary  Form „ 57 

Sixth  Exercise. . 58 


FOUKTH    DIVISION. 
THE     LARGE     PRIMARY    FORMS. 


CHAPTER     X. 

The  lar^e  two-part  Primary  Form 62 

Seventh  Exercise. .  .  63 


CONTENTS.  9 

CHAPTER    XI. 

PAGE 

The  large  three-part  Primary  Form 63 

Eighth  Exercise 65 


FIFTH    DIVISION. 
LICENSES    OF    CONSTRUCTION. 


CHAPTER    XII. 

Extension 65 

(a)  Of  the  small  two-part  Primary  Form 65 

Ninth  Exercise  (1) 67 

(b)  Of  the  small  three-part  Primary  Form 67 

Ninth  Exercise  (2) 69 

(C)  Of  the  large  two-part  Primary  Form 69 

Ninth  Exercise  (3) 70 

(d)  Of  the  large  three  part  Primary  Form 70 

Ninth  Exercise  (4) 73 

CHAPTER    XHI. 

Abbreviation 73 

(a)  Of  the  large  three-part  Primary  Form 73 

Tenth  Exercise  (1) 74 

(b)  Of  the  small  three-part  Primary  Form 75 

Tenth  Exercise  (2) 76 

CHAPTER    XIV. 

Coincidence  of  the  Final  and  the  Initial  Measure  (Overlapping) 76 

CHAPTER    XV. 

Irregular  Groupings  of  Measures 78 

CHAPTER   XVI. 

Licenses  of  Modulation 81 

Eleventh  Exercise  (1) 83 

(2) 83 


SIXTH    DIVISION". 
THE    MOTIVE,    AND     ITS     DEVELOPMENT. 


CHAPTER    XVII. 

Nature  of  the  Motive. . .  83 


10  CONTENTS. 

CHAPTER    XVIIL 

PAGK 

Development  of  the  Motive 86 

(a)  Repetition 86 

Twelfth  Exercise  (1) 88 

(b)  Alteration  of  Intervals 88 

Twelfth  Exercise  (2) 89 

(C)  Rhythmic  Diminution  and  Augmentation 89 

Twelfth  Exercise  (3) 90 

CHAPTER    XIX. 

Development  of  the  Motive — (Continued) 91 

(d)  Inversion 91 

Thirteenth  Exercise 94 

(6)  Contrapuntal  Treatment 94 

CHAPTER    XX. 

Development  of  the  Motive — (Concluded) 96 

(f )  Variation 96 

Fourteenth  Exercise  (1) 97 

(g)  Dismemberment  and  Enlargement 97 

Fourteenth  Exercise  (2) 100 

(h)  The  Passage 100 

Fourteenth  Exercise  (3) 102 


SECOND     PAET. 
APPLICATIONS    OF    THE    PRIMARY    FORM. 


FIRST     DIVISION. 
COMPOSITE     PRIMARY    FORM. 


CHAPTER    XXI. 
The  Theme  with  Variations.— The  Study  (Etude) 103 

CHAPTER    XXII. 

The  Dance-forms  proper 105 

Fifteenth  Exercise..  .108 


CONTENTS.  11 
CHAPTER    XXIII. 

PAGE 

The  March-forms 110 

Sixteenth  Exercise 121 

CHAPTER    XXIV. 

Idealized  Dance-forms 121 

Seventeenth  Exercise 129 

CHAPTER   XXV. 

Special  Forms 130 

Eighteenth  Exercise  (1) 130 

(2) 132 


SECOND    DIVISION. 
THE    LOWER    RONDO-FORMS. 


CHAPTER    XXVI. 
The  Rondo  form,  in  General 133 

CHAPTER    XXVII. 

The  Rondo  of  the  First  Form 134 

Nineteenth  Exercise 136 

CHAPTER    XXVIII. 

The  Rondo  of  the  Second  Form 140 

Twentieth  Exercise 143 

CHAPTER    XXIX. 

The  Rondo  of  the  Third  Form 143 

Twenty-first  Exercise _ 147 

CHAPTER    XXX. 
Transitional  Forms 148 


THIED     DIVISION. 

CHAPTER    XXXI. 
The  Vocal  Song , 149 


12  CONTENTS. 


THIRD    PART. 
THE     SONATA-FORM. 


CHAPTER    XXXII. 
Sonata  and  Sonata-form. 157 

A.      THE    SONATINA. 

CHAPTER    XXXTTT. 

First  Part  of  the  Sonatina-form 158 

Twenty-second  Exercise 163 

CHAPTER    XXXIV. 

First  Part  of  the  Sonatina  in  Minor 164 

Twenty-third  Exercise 166 

CHAPTER    XXXV. 

Third  Part  of  the  Sonatina  in  Major 166 

Twenty- fourth  Exercise 167 

CHAPTER    XXXVL 

Third  Part  of  the  Sonatina  in  Minor 168 

Twenty-fifth  Exercise „ „ 168 

CHAPTER   XXXVIL 

Omission  of  the  Modulation  in  the  First  Part 171 

Twenty-sixth  Exercise „ 172 

CHAPTER    XXXVHL 

Second  Part  of  the  Sonatina-form 173 

Twenty-seventh  Exercise 173 

B.       THE    SONATA. 

CHAPTER    XXXIX. 

Enlargement  of  the  Principal  Subject 178 

Twenty-eighth  Exercise 184 

CHAPTER    XL. 
The  Intermediate  Group 191 

Twentv-niuth  Exercise..  .   196 


CONTENTS.  13 

CHAPTER   XLI. 

PAGE 

The  Secondary  Subject  (Song-group) 196 

Thirtieth  Exercise 199 

CHAPTER    XLII. 
The  Closing  Group 200 

CHAPTER    XLIII. 
The  Coda 202 

CHAPTER    XLIV. 

The  Connecting  Link , 204 

Thirty-first  Exercise 205 

CHAPTER    XLV. 

Third  Part  of  the  Sonata-form 206 

Thirty-second  Exercise 209 

CHAPTER    XLVI. 
Modulatory  License 209 

CHAPTER    XLVII. 
Modifications  of  Particular  Groups  in  the  Third  Part 210 

CHAPTER    XLVIII. 
The  Development-portion 213 

CHAPTER    XLIX. 

Thematic  Work  in  the  Development-portion 214 

Thirty-third  Exercise 220 

CHAPTER    L. 
The  Sonata-form  as  a  Whole 220 

CHAPTER    LI. 
Modification  of  the  Sonata-form  in  the  Finale 229 


14  CONTENTS. 

FOUETH     PART. 
THE    HIGHER    RONDO-FORMS. 


CHAPTER    LII. 

PAOB 

The  Fourth  Rondo-form 2353 

Thirty-fourth  Exercise 333 

CHAPTER    LIII. 

The  Fifth  Rondo-form.   335 

Thirty-fifth  Exercise. 236 

CHAPTER    LIV. 

The  Slow  Tempo 239 

Thirty-sixth  Exercise 247 

CHAPTER    LV. 

The  Composite  Large  Sonata 347 

Thirty-seventh  Exercise 250 

CHAPTER    LVI. 
Other  Applications  of  the  Instrumental  Forms 251 


APPENDIX. 

THE  STROPHE 254 

INDEX .257 


FIRST     PART. 
THE   ELEMENTS   OF  MUSICAL  FORM. 


FIEST    DIVISION. 
THE    SECTION    AND    PHRASE. 


CHAPTER     I.       (Introductory.) 
METER.     RHYTHM. 

1.  METER,  in  music,  is  the  grouping  of  two,  three  or  more  tones, 
as  time-units,  into  a  whole,  or  time-integer,  called  Measure,  the  first 
part  of  which — the  Thesis — has  an  accent,  the  second  part — Arsis — 
either  no  accent  or  a  weak  one.     Thus,  the  grouping,  e.  g.,  of  four 
quarter-notes  into  a  measure  gives  the  meter  whose  signature  is  ^ , 
the  principal  accent  being  on  the  first  quarter-note,  the  weak  (second- 
ary) accent  on  the  third  :   A          j       |       |    I.     In  a  piece  of  music. 

4  *      •      •      •    I 

embracing  a  series  of  measures,  the  rule  is  that  all  measures  have  (1) 
the  same  number  of  time-units  (metrical  parts)  of  equal  length  ;  and 
(2)  a  uniform  alternation  of  accent  and  non-accent;  i.  e.,  the  accent  falls 
on  the  same  metrical  part  in  one  measure  as  in  another.  The  regu- 
larly recurring  accent  enables  the  ear  to  separate  the  measures  one 
from  another ;  for  the  eye,  they  are  separated  by  means  of  the  vertical 
line,  called  bar. 

2.  RHYTHM  has  regard  to  the  motion  of  tones  on  the  basis  of 
metrical  division  and  comprises  (1)  the  combination  of  tones  of  equal 
or  of  unequal  duration  (represented  by  the  various  kinds  of  musical 
notes)  into  manifold  small  time-figures,  forming  distinct  groups  (in 
this  sense  every  germinal  musical  thought— or,  technically  speaking, 
Motive,  consisting  of  a  few  notes,  or  of  notes  and  rests,  and  more  or 


16  THE   ELEMENTS   OF   MUSICAL    FORM. 

less  sharply  outlined  by  means  of  a  caesura,*  is  a  rhythm)  ;  (2)  the  com- 
bination of  these  smaller  rhythms  into  larger  forms — Periods,  etc., 
in  which  larger  sense  the  word  rhythm  expresses  the  grouping  of 
measures. 

3.  For  the  sake  of  convenient  reference,  rhythms  are  designated 
according  to  the  number  of  measures  they  occupy.  Thus  we  have  the 
one-measure  rhythm,  or  MONOMETER  ;  the  rhythm  of  two  measures — 
DIMETER;  of  three  measures — TRIMETER;  of  four  measures — TETRA- 
METER ;  of  five  measures — PENTAMETER,  etc.  The  measures  are  of 
course  counted  from  bar  to  bar,  when  the  rhythm  begins  (whether 
with  a  note  or  a  rest)  at  the  very  beginning  of  the  measure  ;  otherwise 
the  ear  counts  the  measure  from  the  first  tone  to  the  completion  of  the 
value  of  the  measure  (this  is  indicated  in  many  of  our  illustrations  by 
the  bracket  I  I).  In  the  latter  case  the  rhythm  is  said  to  begin 
on  the  ANACRUSIS,!  of  which  our  illustrations  afford  many  examples. 


*  The  Caesura,  or  point  of  division,  marks  the  rhythmical  end-point  of  both  the 
larger  and  smaller  parts  of  a  melody.  As  the  caesura  is  not  always  the  final  note 
of  a  part  of  a  melody,  it  should  be  distinguished  from  the  "  Section  "  and  "  Phrase," 
terms  which  indicate  the  small  portions  of  a  melody  with  regard  to  their  melodic 
end-points.  The  caesura  always  falls  on  an  accented  metrical  part. 

f  A  Greek  word  borrowed  from  poetry  and  suggested  instead  of  "  Up-beat " 
(from  the  German  "  Auftakt").  The  Anacrusis  is  essentially  the  beginning  on  a 
non-accent  or  a  weak  accent.  Hence,  in  duple,  quadruple  and  triple  meter, — 
assuming  that  the  metrical  parts  are  quarters,  and  overlooking  for  the  present  the 
metrical  members  (divisions  of  the  quarters  into  eighths,  sixteenths,  etc.),  the  fol- 
lowing anacruses  are  possible :  (1)  in  -j-  only  one  :  \  \  ;  (2) in  4-  three,  viz:  a) 


b) 


«    * 


and  c)  taking  as  anacrusis  the  third  quarter, 


with  secondary  accent  :     |      | 


:b)  \ 


Moreover  (to  speak  now  of  the  smaller  divisions  of  the  measure),  the  unaccented 

members  —  not  only  of  the  unaccented  but  also  of  the  accented  metrical  parts  afford 

• 
anacruses,  thus  greatly  increasing  their  number.     Here  are  some  examples  in  -= 


of  anacruses  afforded  (1)  by  members  of  the  arsis:  f  \r  f  \   ^    ;    *  I 

k  1 1    •  I  B      1    'I 

(2>  by  members  of  the  thesis:*  *  *    f   \  *  *  **,*  '  *  *  *    I  **f  *  *  *  f    J  I 


The  application    to  still    smaller  members   (e.  g., 


II 


etc.\  and  to  triple  and  quadruple  meter  offers  no  difficulty.     Here  follow  a  few 


RHYTHMS. 


17 


4.  The  Monometer  sometimes  occurs  as  rhythmical  unit,  in  imme- 
diate repetition,  as  in  the  following  example :  * 


Adagio. 


BEETHOVEN. 


mj  ^~       •  -^9    "     •     »  - —  --  f        i       ' 


etc. 


it  is,  however,  generally  combined  with  another — larger — rhythm, 
either  (^preceding  it,  as  in  the  following  example,  in  which  the  two 
monometers  are  followed  by  a  two-measure  rhythm  (dimeter) ; 


BEETHOVEN. 


etc. 


or,  (b)  following  it,  as : 


or,  finally  (c)  inserted  between  two  larger  rhythms,  as : 

Allegro. 


' 


*==& 


BEETHOVEN. 


examples  of  anacruses  in  compound  meter,  say  -5  '. 


8** 


n 


*  The  quotations  are  given  mostly  in  a  melodic  abridgment,  for  saving  room. 


18 


THE   ELEMENTS   OF   MUSICAL   FORM. 


5.  The  monometer  consists  generally  of  but  one  tone-figure.    Thus, 
in  Fig.  1,  measures  1,  2,  we  have  this  principal   rhythmic   figure  : 


;  in  Fig.  2,  measures  1,  2,  the  figure  : 


in  Fig.  3,  measures  2-4, 


larger  rhythms,  on  the  con- 


trary, are  generally  composed  of  many,  for  the  most  part  different, 
tone-figures,  as  for  instance  in  Fig.  4,  measures  1-4  ; 


f  * 
U 


r  i 


this  tetrameter  is  therefore  a   composite   rhythm,  comprising  four 
different  tone-figures. 

6.  The  most  common  constituent  of  melody  is  the  rhythm  of  two 
measures — dimeter,  which  we  shall  therefore  assume  as  the  starting- 
point  of  formal  construction. 


CHAPTER     II. 

SECTION. 

7.  To  render  the  meter  of  a  musical  thought  intelligible  to  the  ear, 
it  is  requisite  that  this  thought  exceed  the  limit  of  one  measure.    For, 
it  is  only  by  the  recurrence  of  the  same  elements  of  the  meter  (the 
same  metrical  parts)  in  the  second  measure,  that  the  meter  can  be 
recognized  by  the  hearing. 

8.  A  tone-succession  which,  extending  beyond  the  limits  of  one 
measure,  renders  the  meter  recognizable  by  the  ear,  is  called  in  gen- 
eral a  PHRASE,  specifically  a  SECTION,  when  its  usual  extent  is  that  of 
two  measures.     The  section,  in  this  sense,  constitutes  the  fundamental 
element  of  our  classical  instrumental  forms,  collectively,  so  that  the 
greater  part  of  the  compositions  in  these  forms  can  easily  be  divided 
up  into  sections. 

9.  We  distinguish  three  kinds  of  sections,  viz  :  (a)  that  which  quite 
fills — with  tones — the  space  of  two  measures,  as: 

BEETHOVEN. 


BEETHOVEN 


b. 


c. 


THE   SECTION. 

d. 


19 


MOZART. 


3- 

- 


in 


MOZAKT. 


HAYDN. 


SSF4F 


m 


(b)  that  which  c/00s  not  Jill  out  the  second  measure  with  ftmes,but  either 
supplements  it  with  rests  ;  as. 


BEETHOVEN. 


tL**i*_* 

-S=FS=S=F==p 


b. 


BEETHOVEN. 


c. 


BEETHOVEN. 


or,  leaves  the  remainder  of  it  free,  for  the  introduction  of  a  new 
thought;  as, 

BEETHOVEN. 
a. 


L 


20 


THE  ELEMENTS   OF  MUSICAL    FORM. 


(c)  that  which  leads  over  into  what  follows  (the  third  measure) ;  as, 

a,  BEETHOVEN.       fc>.  BEETHOVBN. 


c.  Adagio.         MOZART. 


d. 


HAYDN. 


1O.  Many  sections  are  formed  by  the  repetition  of  a  one-measure 
thought  (monometer) ;  as, 


a. 


BEETHOVEN. 


b. 


SCHUMANN. 

•?- 


c. 


CHOPIN. 


= 


The  repetition  need  not,  however,  be  as  raac^  as  in  the  above  exam- 
ples ;  it  may  embrace  only  the  essential  rhythm,  while  admitting  tonal 
variations;  as, 

BEETHOVEN.  b.    Grave. 


BEETHOVEN. 


MOZART. 


: 


d. 


HAYDN. 


"  :3_tf  _  —  —  ~—^:- 

—    -      —   -  --  *~ 


I 


In  referring,  when  desirable,  to  this  construction,  it  <vill  be  ex- 
pressed by  the  metrical  cipher  '2  x  1. 

11.  It  may  be  observed  here,  that  there  will  occasionally  b^  found 


THE   SECTION. 


21 


portions  of  the  measure,  the  section,  etc.,  consisting  mostly  of  figures 
not  strictly  belonging  to  the  essential  rhythm,  but  merely  serving  to 
connect  two  rhythms,  which  figures,  or  (as  they  sometimes  are)  single 
notes,  may  be  called  MELODIC  CONJUNCTIONS.  These  are  indicated 
in  the  following  examples  by  brackets: 


a.   Ada 

_tt 4 


^  5^i7~ 

^T*  .  ^    £ ££  *-*--: 

— i~f~pi~  fL<-^s — ' — **~ "' — **" ' ' — : 

^^^^ 


— ^. 


BEETHOVEN. 


b.    -A  dagio. 


. — l-Jp-WT-irZ 1 s~i 1 — i — r *-r~x 


BEETHOVEN. 


C.    Adagio. 


etc.     **  •*-.-*• 


BEETHOVEN. 


FIRST    EXERCISE. 

Compose  many  sections  of  all  the  three  kinds,  especially  of  the  first. 

These  sections  should  be  arranged  with  complete  harmonization  for  the  piano 
(some,  at  option,  for  string-quartet,  organ,  as  also  for  voices),  the  best  ones  to  be 
selected,  and,  with  a  view  to  future  use,  numbered.  The  principal  tempi  to  be 
indicated.  Here  follow  three  examples  from  BEETHOVEN,  one  of  each  kind : 


a.    Presto. 


MODELS. 

BEETHOVEN.  b.    Allegro  con  brio. 


12. 


THE  ELEMENTS  OF  MUSICAL  FORM. 
C.    Adagio  grazioso. 


CHAPTER     III. 

DOUBLE    SECTION.      PHRASE. 

12.  The  mere  repetition  of  a  Section  (dimeter)  does  not  constitute 
a  4-measure  phrase  (tetrameter) ;  it  is  simply  a  DOUBLE-SECTION, 
indicated  by  the  cipher  2x2. 


13. 


•CX"  m&F~ 


Among  these  repetitions  are  included — as  in  the  case  of  the  con- 
struction marked  2x1  (see  Chap.  II,  Paragraph  10),  such  variations 
as  are  of  a  tonal  (not  rhythmical)  nature ;  but  even  here  there  must 
be  a  perceptible  similarity,  in  spite  of  the  variation,  as  in  the  following 
examples : 


b. 


BEETHOVEN. 


S':e^^^E^^^z=:_zg^=^iH-^S 

^    -£L— ^-^-l-iV-^.—  *&^9**-9-+fjr-*- 

Even  rhythmical  variations  are  admissible,  if  confined  to  subordinate 
details,  as  is  the  case  with  embellishments,  figurations,  etc. 

a.  +  BEETHOVEN. 


15. 


-I  ,  \ 


9- 

• 

3  t 

DOUBLE   SECTION   AND    PHRASE. 


23 


b.    Allegro. 


(The  +  in  the  above  two  examples  calls  attention  to  the  slight  rhythmical 
changes  introduced  in  the  repetition,  in  Ex.  a,  by  the  insertion  of  a  changing-note, 
in  b,  by  the  omission  of  the  anacrusis.) 

13.  A  musical  thought  forming  a  section  sometimes  occurs  four 
times  in  immediate  succession.     Such  a  construction,  embracing  eight 
measures,  is  called  QUADRUPLE  SECTION,  and  marked  4x2.     For  an 
example  see  Fig.  263. 

14.  Every  extension  of  a  musical  thought  to  four  measures,  other 
than  any  such  extension  already  noticed,  constitutes  the  PHRASE,  or 
Tetrameter.     This  too,  like  the  section,  is  either  (a)  filled  out,  or  (b) 
disjunct,  or  (c)  connective, — each  of  these  terms  referring  to  the  con- 
struction of  the  second  constituent  section. 


(a)  FILLED  OUT: 


16. 


•?    2x^T 


BEETHOVEN. 

-U^-l*- 


BEETHOVEN. 


(b)  DISJUNCT  : 

|  2    ^ 

r   pj3bfcn==       J— T—    .     ?— iryfi»      ,g — ^F^m 

'  E§=$=i=iEtEtE=E^ISE^§E 


MOZABT. 


F 


(At  +  a  quarter  note  of  the  measure  remains  free,  serving  as  a  starting-point 
fbr  a  new  thought.) 

(c)  CONNECTIVE  : 
: a *' 


18. 


BEETHOVEN. 


24 


THE  ELEMENTS   OF   MUSICAL  FORM. 


„  SECOND    EXERCISE. 

Compose  very  many  4-measure  phrases,  (1)  by  completing  the  NUM- 
BERED sections  composed  for  the  first  exercise,  each  one  in  a  different 
manner  j  and  (2)  NEW  ones. 


MODELS. 


a.    Allegro. 


BEETHOVEN. 


19. 


_ 
r**"       F^  J .  ^"*  -*-^  ^J  J  U^  j    j  j^  rr^   ^^  F 

"        " 


r^==^^= 


c.    Attegro. 


15.  The  form  of  the  phrase  just  considered  is  perhaps  the  com- 
monest, yet  it  is  not  the  only  one.  The  truth  is  that  the  structure  of 
the  phrase  does  not  absolutely  depend  on  the  number  of  four  measures, 
for  there  are  phrases  of  as  fe\v  as  two  measures  (these  occur  chiefly  in 
the  compound  meter*}  and  as  many  as  ten.  The  phrase  is  essentially 
an  element  of  melody  embracing  two  (at  the  least)  or  more  measures 
terminated  by  a  cailence  of  some  kind,  and  sensibly  forming  a  separate 
group  by  itself. 


DOUBLE   SECTION   AND    PHRASE.  25 

REMARK.  —  The  doctrine  of  the  harmonic  close,  or  Cadence,  may  here  be  suc- 
cinctly stated.  The  Cadence,  strictly  so-called,  is  that  whose  final  harmony  is  the 
Tonic  Triad.  If  this  Triad  is  immediately  preceded  by  the  dominant  harmony,  we 
have  tne  authentic  tonic  cadence  ;  if  by  the  subdominant,  the  plagal  cadence,  or 
tonic  half-cadence.  The  authentic  tonic  cadence  is  perfect,  when  the  uppermost 
tone  of  the  final  chord  is  precisely  the  tonic  itself,  i.  e.,  not  its  Third  nor  its  Fifth  ; 
in  either  of  the  latter  cases  the  cadence  is  imperfect.  Another  kind  of  cadence, 
improperly  so  called,  consists  of  a  point  of  rest  on  the  dominant  harmony,  gener- 
ally preceded  by  the  tonic  Triad.  The  expression  half-cadence  (when  the  word 
"  tonic  "  is  not  prefixed)  designates  this  point  of  rest  on  the  dominant,  indicated  in 
some  of  our  illustrations  by  I  V,  or  I  V.  The  abbreviations  "  Per.  Cad."  (perfect 
cadence)  and  "  Im.  Cad."  (imperfect  cadence)  refer  of  course  to  the  authentic  tonic 
cadence,  whether  the  tonic  of  the  key  of  the  piece  be  meant,  or  the  tonic  for  the 
time  being,  resulting  from  a  modulation. 

16.  The  phrase  is  simple,  if  consisting  of  but  one  rhythm,  and  com- 
posite, if  embracing  more  than  one  rhythm.     Every  simple  phrase  is 
therefore  a  rhythm,  but  not  every  rhythm  is  a  phrase,  because  in  many 
rhythms  —  especially  the  smaller  ones  —  both  the  extent  of  at  least  two 
measures  and  the  cadence  are  lacking. 

17.  At  the  close  of  most  initial  phrases  of  a  melody,  the  ear 
expects  a  second  phrase  of  analogous  rhythmic  structure,  as  comple- 
mentary or  responsive.     This  expectation  is  generally  fulfilled,  for,  in 
fact,  phrases  are  most  frequently  paired  in  this  way,  as  we  shall  see 
farther  on.     Nevertheless,  the  phrase  beginning  a  melody  occasionally 
ends  with  a  perfect  authentic  tonic  cadence,  thus  forming  a  musical 
thought  which   is  in  so  far  satisfactory  in  itself  as  it  does  not  so 
imperatively  require  a  subsequent  phrase  as  complementary.     As  a 
general  rule,  a  phrase,  or  larger  group,  closing  with  a  perfect  authen- 
tic cadence  on  the  tonic  of  the  key,  is  regarded  as  absolutely  independ- 
ent and  complete  in  itself,  and  may  be  followed,  at  pleasure,  by  a 
heterogeneous  group,  or  by  a  repetition,  etc. 

18.  Here  follow  some  examples  of  phrases  outside  of  the  regular 
form  of  four  measures.     They  are  given  for  promoting  the  insight 
into  the  nature  of  the  phrase,  not  for  imitation  at  the  present  stage  of 
our  study. 


TWO-MEASURE  PHRASE. 


I     V 

(Other  examples  of  the  2-measure  phrase,  Fig.  33.) 


THE   ELEMENTS   OF   MUSICAL   FORM. 


FIVE-MEASURE  PHRASE. 

a.    Allegretto.        (2 +3) 


F.  SCHUBERT. 


21. 


etc. 


b. 


(3+2) 


KiLLIWODA. 


I       V  etc. 


SIX-MEASURE  PHRASE. 

a.    Allegro  motto. 

tr  (2+4) 


-^piq— -f^i — ^ 


BEETHOVEN. 


I         V 


J    etc. 


b. 


(4+2) 


HAYDN. 


Per.  Cad  on  Domina/,f . 


(Simple.) 


C.    Cow  moto. 

PJSBE^BJ^^g^^^EEl 


MBNDBLSSOHH, 


Tonic  half-cadence. 


SEVEN-MEASURE  PHRASE. 

^Issaz  vivace.       (5x1+2) 


, 


^ 


I 


etc. 


THE  SIMPLE,  EIGHT-MEASURE  PERIOD.  27 

TEN-MEASURE  PHRASE. 


BEETHOVEN. 


REMAKE. — The  last  example,  Fig.  24,  illustrates  the  independent  tonic  phrase 
spoken  of  in  Par.  17.    The  eight-measure  phrase  will  be  considered  later. 


SECOND    DIVISION. 
THE    PERIOD. 


CHAPTER     IV. 
THE    SIMPLE,    EIGHT-MEASURE    PERIOD. 

19.  The  PERIOD  is  a  tone-form  outlined  and  organized  in  a  certain 
rhythmic,  melodic  and  harmonic  order,  constituting  in  itself  a  little 
piece  of  music,  or  forming  in  conjunction  with  other  periods  a  mem- 
ber of  a  larger  composition.     We  are  speaking  of  the  period  with 
special  reference  to  the  free  forms  of  instrumental  music,  as  distin- 
guished from  vocal  music,  in  which  latter  its  laws  are  more  or  less 
conditionated  by  the  text. 

20.  The  period,  in  its  typical  and  most  usual  form,  consists  of 
two  four-measure  phrases,  the  first  being  generally  called   Thesis,  the 
second  Antithesis.     This  is  the  simple  period.     It  closes  mostly  with 
a  tonic  cadence ;  a  different  close,  as  for  instance  in  the  key  of  the 
dominant,  or — in  minor — in  the  parallel  major  Tccy,  of  course  presup- 
poses either  a  repetition  of  the  period  itself,  closing  this  time  in  the 
tonic,  or  the  addition  of  other  periods. 

21.  As  to  the  tonal  content*  of  the  period,  the  general  rule  and 
practice  is  that  of  similarity  in  the  two  phrases.     This  is  not  essen- 
tial, however,  as  the  Antithesis  often  shows  a  construction  differing 
from  that  of  the  Thesis.     What  is  generally  essential  is,  that  there 


THE   ELEMENTS   OF   MUSICAL   FORM. 


should  be  a  certain  contrast  between  the  two  phrases,  whereby  the 
second  one  may  appear  as  complementary  or  responsive  to  the  first  (see 
Par.  17).  This  is  usually  effected  by  the  harmonic  cadence. 

2%,  The  repetition,  without  material  alteration,  of  a  phrase,  con- 
stitutes simply  a  DOUBLE-PHRASE,  marked,  in  metrical  cipher,  2x4. 

23.  But  if  the  repeated  phrase  contains  certain  changes  whereby 
it  is  harmonically  contrasted  with  the  first  one,  so  that  the  two  phrases 
are  correlated  as  Thesis  and  Antithesis,  we  have  the  PERIOD. 

This  correlation  is  based  on  the  different  ways  in  which  the  two 
phrases  close.    Hence  result  four  different  forms. 

FIRST    FORM. 

24.  The  Thesis  closes  with  a  half-cadence,  the  Antithesis  with  a 
perfect  authentic  cadence  in  the  tonic. 


i     v 


Thesis. 


•  »  •  ;_^ 


m 


BKETHOVEN. 
Per.  Cad. 


•y-ffjt  —  1  1 

R 

~J  1  1  1" 

1 

t       i      1 

fm  n      ,        , 

*       J 

n      t 

e       4 

*       « 

• 

III 

^        1 

Antithesis.     »       »       "                   -    •      »      O 

I      V 


p=gf=i  =g=M=^F 

I     "I     I     Thesis! 


1 


MOZABT. 


-*-  '     -^ 


Per.  Cad. 


Antithesis. 


THE  SIMPLE,    EIGHT-MEASUEE  PEEIOD. 


THIKD    EXERCISE    (1). 

Compose  many  eight-measure  Periods  of  the  first  form,  some 
others  extensions  of  former  exercises. 


MODELS. 


a.    Prestissimo. 


BEETHOVEN. 


Mfc* f ? N— fa < 

=H-f— ±=?— ^=i 


b.    Poco  Allegretto  e  graaioso. 


30 


THE   ELEMENTS   OF   MUSICAL   FORM. 


SECOND   FORM. 
25.  The  Thesis  closes  with  an  authentic  cadence  in  the  DOMINANT. 


MOZART. 


Antithesis. 


THIRD    EXERCISE    (2). 

Compose  many  Periods  of  the  second  form,  partly  Tjy  varying  exer- 
cises written  in  the  first  form. 

MODELS.  

a.    Allegro  rirace. 


tr. 


28. 


^^!S^ T^^ 


THE   SIMPLE,   EIGHT-MEASURE   PERIOD. 


31 


BEETHOVEN. 


Thesis. 


Antithesis."^"       *      ,      *     *     I 


THIRD    FORM. 


26.  The  Thesis  closes  with  an  imperfect — exceptionally  with  a 
perfect — authentic  cadence  on  the  Tonic. 


29. 


=!*-»— h=FV^«-^ 


Thesis. 


U  iJ 


Im.  Cad. 
1=15= 


MOZART. 
Per.  Cad. 


— Lf- V- 


Antithesis. 


32 


THE   ELEMENTS   OF   MUSICAL   FORM. 


Per.  Cad. 


WEBEB.  c. 


Per.  Cad.  | 


THIRD    EXERCISE    (3). 

Compose  Periods  in  the  third  form. 

MODEL. 

Allegretto. 


30. 


FOURTH    FORM. 


27.  In  the  three  period-forms  which  we  have  thus  far  considered, 
the  two  phrases  show  a  decided  similarity  as  to  tonal  contents,  the 
Antithesis  being  to  a  certain  extent  a  repetition  of  the  Thesis.  In 
the  fourth  form  the  Antithesis  corresponds  only  approximately  to  the 
Thesis,  sometimes  even  is  constructed  from  motives  quite  different 


THE   SIMPLE,   EIGHT-MEASURE   PERIOD. 


33 


from  those  of  the  Thesis,  thereby  showing  a  thematic  contrast,  in  addi- 
tion to  the  contrast  afforded  by  the  harmonic  cadences. 


a.    Allegretto. 


Thesis.  . 

^KfflTi-'-iTT-r-iNfr 


Antithesis. 


— *         F^"^     .,    _—  _      K  Vu 

— i—o      I  I  h-A-^^    *  * — a-**r-B 
—    ft      i    i    i    •Jafr— -r» — *-*-*! — !l— S 
*-•  m    <  M*  \ — *S»^-P-  —I   li    —    i 

— •-—*-*-*• — — i  qi  i  i — w^J — — 


instead  of :   '. 


b-    Allegro. 


"l        *  I I   ^ 


MOZART. 


i__M 


±1- 


Thesis. 


? N— * 


Antithesis. 


BEETHOVEN. 


34 


THE   ELEMENTS   OF   MUSICAL   FORM. 


THIRD    EXERCISE    (4), 

Compose  Periods  in  the  fourth  form. 

MODEL. 


Andante  cantabile. 


32. 


CHAPTER    V. 

EXCEPTIONAL    PERIOD-FORMS. 
FOUR-MEASURE  PERIODS. 


Adagio. 


-^— ' — t-rb=^-p        HE^^a 

i=F^EE^^E^q 


etc. 


EXCEPTIONAL  PERIOD-.FORMS. 


35 


C.    Moderate. 


HAYDN. 


I 

J 


Antithesis. 


«  «     «       k" — 

,    I    s      »  .  •*•     -*•-*•-••     -TV     -*L_^_-*-&. » 


28.  The  Period,  as  thus  far  exemplified,  has  invariably  exhibited 
a  specific  symmetry,  in  the  grouping  of  its  phrases  by  4  measures,  or 
by  2  (4+4,  or  2  +  2).  Periods  in  which  this  symmetry  is  lacking  will 
now  be  illustrated. 


SIX-MEASURE  PERIODS. 


a.    (3  +  3.)    Adagio. 


BEETHOVEN.  b.    (4+8.) 


SEVEN-MEASURE  PERIODS. 


a.  (3+4.) 


b.    (4+3.) 


36 


THE  ELEMENTS  OF  MUSICAL  FORM 
EIGHT-MEASURE  PERIOD. 


(3+3+2.) 


mj  9  I   I  ^^^^H~ 


a.  (4+5.) 


NINE-MEASURE  PERIODS. 


• 


German  Folk-song. 


(By  taking  away  the  interpolated  measure  marked  + ,  the  above  period  becomes 
regular.) 

b.   (5+4.) 

I 


German  Folk-song. 


TEN-MEASURE  PERIODS. 


a.  (4+4+2.) 


38. 


German  Folk-song. 


Coda.    ^ 


(In  Fig.  38  a,  the  melody  really  ends  with  the  first  half  of  the  eighth  measure, 
the  two  remaining  measures  forming  a  Coda,  so  called.  This  is  a  common  con- 
struction.) 


EXCEPTIONAL   PERIOD-FORMS, 
b.    (4+2+4.)    Allegro. 


37 


MOZART. 


f^J      Ly-*-a — » ^       !    -J— }- 


C .    (6+4.)    Allegro  motto. 


1 

V"  i  1 

1  —  1  1  —  1  i  1  —  1 

i       ; 

\          1 

fe?f- 

-J- 

1  IP  — 

—  —  J—ld  —  fe 

-J—  1^- 

H*=£-i= 

A'  . 

I 

J        ijw 

&*   .       •       JW         • 

* 

~—  «_  i 

^> 

_l 

1  -  —  ^^    -1 

1         ^ 

_      1 

Ij 

r.  ---—  • 
P  J 

*^ 

IT 

•    i    i 

ll 

\         \ 

BEBTHOVBH. 
ll 

^       •            * 

1 

t=zi—  t- 

^1 

-ff=— 

L 

1 

^  •  J>  -J             [ 

PERIODS  OF  THREE  PHRASES. 

29.  Periods  of  three  phrases  are  often  found,  having  of  course  for 
the  most  part  twelve  measures,  sometimes  more,  sometimes  fewer. 
Such  a  period  is  not  unfrequently  composed  of  a  Thesis  and  a  double 
Antithesis,  or  vice  versa,  of  a  Double  Thesis  and  an  Antithesis.  In 
other  cases  the  second  phrase  does  not  form  part  of  the  Thesis  or  of 
the  Antithesis,  but  appears  simply  as  middle  phrase. 


a.    12  Measures  (3  x  4). 
I 


39. 


MOZABT. 


_^          1UUZAKT.  M 


b.  Minuetto.    12  Measures  (8x4). 
I" 


etc. 


BEETHOVEN. 


38  THE   ELEMENTS   OF   MUSICAL   FORM. 

C.    12  Measures  (3x4). 


German  folk-song. 


ii  '         i 


d.    11  Measures  (3+4+4). 


German  Folk-Sony. 


(The  above  melody,  Fig.  39  d,  really  ends  on  the  note  marked  + ,  what  follows 
is  virtually  a  repetition,  as  it  were  a  Coda.) 

e.    13  Measures  (4+2+2+5). 


l^^*l  I  I  *          XV 


pg    \-H-fc&L+^p 

--        y  * — * — -  • — 


,'?O.  Tlio  young  composer  who  here  applies  to  the  study  of  the 
musical  forms,  will,  over  and  above  the  working  out  of  his  exercises, 
carefully  notice  all  the  forms  which  he  meets  with  in  his  daily  musical 
life,  always  explaining  them  to  himself  according  to  the  doctrine  of 
form.  It  may  also  lie  assumed  that  he  curries  in  his  memory  a 
treasure  of  classical  music,  from  which  he  can  draw  models  for  every 


THE   SMALL   TWO-PART   PRIMARY    FORM.  39 

form,  without  having  to  consult  scores.  Every  species  of  music  in 
which  our  masters  have  composed,  affords  abundant  material  for  this, 
not  only  instrumental  but  also  vocal  music,  opera  and  oratorio. 


THIRD    DIVISION. 
THE    SMALL    PEIMAEY    FORMS. 


CHAPTER    VI. 

THE    SMALL    TWO-PART    PRIMARY    FORM. 

31.  The  mere  repetition  of  a  period,  even  with  modifications,  does 
not  give  rise  to  a  higher  form.     But  the  union  of  two  periods  so  con- 
structed that  one  constitutes  a  Thesis,  the  other  its  Antithesis,  affords 
the  TWO-PART  PRIMARY  FORM.    This  is  the  simplest  of  all  musical 
forms  after  the  period,  being  almost  synonymous  with  "tune,"  " mel- 
ody."   In  this  form  were  cast  the  first  beginnings  of  melody,  espe- 
cially the  typical  folk-song,  called  by  the  Germans  "  Volks-lied,"  from 
which  circumstance  some  musical  theorists  of  that  nationality  have 
called  the  form  "Lied-form,"  the  English  equivalent  of    which   is 
"song-form."    But  as  this  form  embraces   a  great  many  different 
species  of  music-pieces,  such  as  the  various  Dances  and  Marches,  the 
Theme  with  variations,  etc.,  etc.,  the  name  primary  form  has  been 
suggested*  as  more  appropriate  to  it.     The  essential  principle  of  the 
primary  form  is  the  presentation  of  one  musical  thought  (or  of  one 
principal  thought),  followed  by  another,  contrasting  with  it,  then 
returning  to  the  original  to  conclude. 

32.  A  general  rule  for  the  structure  of  the  two  periods  is,  that 
the  Thesis  of  the  second  one  is  formed  of  new  matter,  whilst  the  An- 
tithesis (of  the  same  period)  exactly  corresponds  to  the  Antithesis  of 
the  first. 

FIRST    FORM. 

33.  The  1st  period  is  precisely  of  the  kind  described  in  paragraph 
24  and  exemplified  in  Figs.  25,  26.    The  periods  composed  for  the 

*  By  a  writer  (Mr.  C.  H.  H.  Parry)  in  Grove's  Dictionary  of  Music  and  Musi- 
cians.    His  article,  under  the  title  "  Lied-form,"  is  well  worth  reading. 


40 


THE    ELEMENTS  OF   MUSICAL   FORM. 


Third  Exercise  (1),  page  29,  should  here  be  utilized.  In  the  3d  period, 
the  Thesis,  whose  matter  more  or  less  differs  from  that  of  the  1st 
period,  closes  with  the  Half-cadence,  and,  exceptionally,  with  one  of 
the  cadences  mentioned  in  Chapter  IV,  paragraphs  25,  26.  Antithesis 
exactly  corresponds  to  that  of  the  1st  period. 


FIRST  PERIOD. 


40. 


Thesis. 


Antithesis. 


SKCOND  PERIOD. 


11 I  Thesis. 


BEETHOVEN. 


Antithesis. 


FIRST  PERIOD. 


SECOND  PERIOD. 


MOZART. 


THE    SMALL   TWO-PART   PRIMARY    FORM. 


41 


FOURTH    EXERCISE    (1). 

Compose,  in  accordance  with  the  foregoing,  very  many  small  two- 
part  primary  forms,  partly  from  the  periods  of  the  preceding  exercise, 
partly  from  new  material. 

MODEL. 


dolce.  p  I         J*T*'>««i         i  ^ 


p  I        J'^ri* 

±    =z 


1st  Period.    Thesis. 


^ 


:^EE 


42 


THE  ELEMENTS  OF  MUSICAL  FORM. 


REMARK,  as  to  Fig.  41.  Here,  as  in  many  cases,  the  Antithesis  of  the  3d  period 
is  merely  ximilitr — not  strictly  corresponding — to  that  of  the  1st  period. 

In  a  manner  similar  to  the  above,  BEETHOVEN  works  up  the  period  (poco 
allegretto)  given  in  Fig.  26  b,  into  a  piece  in  two-part  primary  form,  in  his  Sonata, 
Op.  7,  last  movement.  The  Rondos  in  the  two  little  Sonatas,  Op.  49,  also  begin  in 
this  form. 

SECOND    FORM. 

(1)    IN  THE   MAJOE   MODE. 

34.  The  1st  period  closes  with  an  authentic  cadence  in  the  key  of 
the  dominant,  implying  a  modulation.  The  2d  period  is  constructed 
as  in  the  first  form,  and  closes  in  the  tonic.  Occasionally,  the  1st 
period  closes  with  an  authentic  cadence  in  the  (minor)  key  of  the 
Mediant  (for  instance,  in  e-minor,  if  the  major  key  be  C,  etc. ). 


form. 


FOURTH    EXERCISE    (2). 
Compose  small  pieces   in  major,  in  the  second  two-part  primary 

MODELS. 


Andante     1st  Period. 


42. 


Thesis 


THE   SMALL  TWO-PART   PRIMARY    FORM. 


43 


*« 


-J-E-kgT1^ 

-3— S — ^SJ     » 


Im.  Cad. 


Antithesis. 


=S=:US 


F~ 


Perf.  auth.  Cadence  in  the  Dom. 


_         £ f* 


-1- 


2d  Period. 


Thesis. 


~          n=   —  *^  =— — ]  --• \— 


44 


THE   ELEMENTS   OF   MUSICAL  FORM. 


-* C3 — f t'*~F — 9  *UJ — 1 

a ag— BST      H*~l^i:t^8 


Antithesis. 


Ima. 


—  »  — 


F=i»==:P= 


BEETHOVEN. 


1 


b. 


43. 


P=t= 


^S 


rr 


,      i  j— j~      j— 

^^-jj-jt — J — • — ^ — '•  A—* !T^~d~*f — !      «._  J    * 

=ft=fc  =t=;  =^ — ^— ^-U   ~r      P 

i  — ,1 ,    '        ii 


---^ 

?— 


THE   SMALL  TWO-PART   PRIMARY   FORM. 

Cadence  in  the  Key  of  the  Mediant. 


45 


m-v" 


T1 


S_it_    ^  r-=?  ,      |         \^.. J    .^S^., L 

Ig5 — p=^-i^a^=J=f=4=  =^q > -.r          r^z=r=rr 

T  \- — -i    rJ if  i  rT  — 


(2)    IN  THE   MIXOR   MODE. 

35.  In  minor,  the  1st  period  closes  either  in  the  normal  (minor) 
key  of  the  dominant  (for  instance,  e-minor,  dominant  of  a-minor,  etc.), 
or  in  the  parallel  major  key  ((7-major,  for  instance,  parallel  major  of 
a-minor,  etc.). 


46 


THE   ELEMENTS   OF   MUSICAL   FORM. 


MODELS. 


Thesis. 


44  a. 


=- '  i  i  i  I  -H-44-— 


Antithesis. 


Minor  Key  of  the  Dominant. 


*s 


Thesis. 


Antithesis. 


:' 


F 


> 

3"8 —  ll~ 


THE  SMALL  TWO-PART  PRIMARY   FORM.  47 

BEETHOVEN. 


Antithesis. 


SECOND  PERIOD. 


BEETHOVEN. 


So,  too,  the  melody  which  immediately  follows  the  above,  as  a 
counterpoint  to  it,  viz  : 


• 


FOUKTH    EXERCISE    (3). 
Compose  pieces  in  two-part  primary  form,  in  minor. 

36.  The  repetition  of  a  period,  even  with  variations,  yet  without 
the  contrast  necessary  for  correlating  the  two  periods  as  Thesis  and 
Antithesis,  as  jnst  illustrated,  constitutes  simply  a  DOUBLE-PERIOD, 
not  a  primary  form.  Thus,  for  example,  the  Scherzo  of  BEETHOVEX'S 
A\?  Sonata,  Op.  26,  begins  with  an  8-measure  period,  which  is  imme- 
diately repeated  with  rhythmical  variations. 


48 


46. 


THE   ELEMENTS  OF   MUSICAL  FORM. 


J. 


Such  repetitions  often  occur  in  cyclical  compositions,  and  should 
be  well  distinguished  from  higher  forms.  The  Allegretto  of  BEETHO- 
VEN'S c$-minor  Sonata,  Op.  27,  also  shows  a  similar  repetition,  written 
out,  varied  by  ties,  and  rhythmically  elaborated. 

b.    Repeated  thus : 


47. 


etc. 


THIRD    FORM. 

37.  It  will  be  noticed  that  in  the  case  of  a  repeated  period  like 
those  in  Figs.  46,  47  there  is  no  harmonic  correspondence  of  the 
cadences,  i.  e.,  the  cadence  of  the  second  period  does  not  contrast  this 
period  with  the  first  one,  for  the  simple  reason  that  each  period  closes 
with  one  and  the  same  (the  tonic)  cadence.     The  case  often  occurs, 
however,  of  two  connected  periods  almost  exactly  alike  in  which  this 
harmonic  correspondence  of  the  cadences  is  found,  whereby  the  two 
periods  are  made  to  correspond  on  the  whole  as  Thesis  and  Antithesis, 
thus  constituting  a  third  two-part  primary  form.     Examples  of  this 
are  the  two  periods  of  the  Eondo  of  BEETHOVEN'S  SiMnajor  Sonata, 
Op.  22,  given  below  as  a  model  (Fig.  48). 

38.  In  such  periods  the  Thesis  of  one  corresponds  to  that  of  the 
other,  the  Antithesis  of  one  to  that  of  the  other,  unlike  the  first  and 
second  forms,  in   which  Antithesis  corresponds  to  Thesis.      In  this 
third   form,    therefore,   Thesis  and   Antithesis  usually    have    fewer 


THE    SMALL   TWO-PART    PRIMARY    FORM. 


49 


features  in  common.  We  may  express  the  former  relationship  thus : 

Thesis.    Antith.  Thesis.    Antith. 

1st  Period,     a         a  the  present  one  thus :  1st  Period,     a        b. 
2d                b        a  gd      "        a        b. 


MODEL. 


etc. 


50 


THE   ELEMENTS   OF   MUSICAL   FORM. 


REMARK.— At  the  place  marked  +  in  the  above  example  the  amount  of  two 
measures  (added  in  the  original  to  the  regular  8-measure  form  by  a  license  to  be 
explained  later)  has  been  purposely  eliminated,  in  order  that  the  example  may 
serve  as  a  model  in  the  regular  form.  (See  Fig.  67.) 

FOURTH    EXERCISE    (4). 

Compose  pieces  in  two-part  primary  form  with  the  construction  just 
explained,  and  illustrated  by  the  preceding  model  (Fig.  48). 


CHAPTER    VII. 

THE    LARGE    (EIGHT-MEASURE)    PHRASE. 

39.  Two  connected  phrases  of  different  matter,  yet  without  har- 
monic and  rhythmic  correspondence,  form — not  a  period,  but — an 
S-MEASUKE  PHRASE.     This  construction  may  be  regarded  under  three 
aspects. 

(1)  INDEPENDENT. 

40.  This  kind  of  phrase  is  often  independent ;  in  other  words,  is 
a  musical  thought  forming  a  complete  whole  in  itself,  as  closing  with 
the  perfect  tonic  cadence  (see  Par.  17). 


49. 


MOZAKT. 


Often  the  division  into  two  parts  is  less  obvious ;  the  phrase  then 
seems  to  be  simple  rather  than  composite.     For  example : 


THE  LARGE  EIGHT-MEASURE   PHRASE. 


51 


50. 


BEETHOVEN. 


B 


This  construction  may  be  considered  the  most  perfect  form  of  the 
ihrase,  and  requires  specially  diligent  practice. 

FIFTH    EXEKCISE    (1). 
Compose  many  independent  8-measure  phrases. 


Allegro. 


51  a. 


MODELS. 
I 


ilfcfe 


BEETHOVEN. 


r^  I^P^^^^^1 


r 


- 

* 


etc. 


THE  ELEMENTS  OF  MUSICAL  FORM. 


51  b. 


i       \       T ; j          | [|  [  -[ 

*-  -••  ""•*•  "•*•      ^-"l     •*•     •*•     •*• 


(2)  As  PART  OF  A  PERIOD. 

41.  The  8-measure  phrase  may  form  part  of  a  period,  by  taking 
the  place  of  a  Thesis  or  an  Antithesis.     For  example : 


Andante. ,— 


BEETHOVEN. 


Per.  Ton.  Cad. 


The  first  eight  measures  of  the  above  form  a  Thesis,  consisting  of  two 
subordinate  phrases,  each  representing  a  4-measnre  Thesis.  We  have 
bore  a  double  Thetis,  so  to  speak;  to  it  is  joined  in  this  case  a  simi- 
larly constructed  Antithesis,  which  repeats  the  entire  double  Thesis 
except  the  last  two  measures,  in  which  it  makes  a,  tonic  cadence.  Thus 
is  fjriued 


THE   LARGE   EIGHT-MEASURE   PHRASE. 


53 


53. 


THE  LARGE  (SIXTEEN-MEASURE)  PERIOD. 

Allegro. 


MOZABT. 


42.  The  above  beginning  of  the  Allegro  of  the  Don  Giovanni  over- 
ture also  forms  a  16-MEASURE  PERIOD,  the  first  eight  measures  consti- 
tuting the  composite  Thesis,  the  last  eight  the  Antithesis.     By  means 
of  the  lively  rhythm  of  the  close  the  period  immediately  connects 
with  the  succeeding  one,  a  procedure  which  gives  to  the  higher  forms, 
especially  in  the  Allegro,  that  quality  of  urging  forward,  that  resolute- 
ness, which  constitutes  their  esthetic  character. 

43.  The  large  (8-measure)  phrase  may  in  all  the  higher  forms 
occasionally  take  the  place  of  the  8-measure  period. 


FIFTH    EXEECISE    (2). 

(a)  Prom  the  independent  8-measure  phrases  already  written  form 
•8-measure  THESES. 

(b)  Develop  these,  ~by  adding  independent  8-measure  phrases,  into 

16-MEASURE  PERIODS. 

(c)  Compose  NEW  16-measure  periods,  taking  as  models  the  examples 
already  cited. 

(3)  DOUBLE-PHRASE. 

44.  Likewise   among  the  phrases,  not  among   the   periods,  are 
classed  those    8-measure    constructions    which,  though   they  indeed 


54 


THE   ELEMENTS   OF   MUSICAL   FORM. 


show  thematic  correspondence,  yet,  by  reason  of  perfect  similarity  of 
structure,  in  quick  tempo  convey  the  idea  of  repetition  rather  than  of 
period-form.  Moreover,  they  form  as  a  rule  no  complete  cadences, 
though  the  contrary  may  obtain  exceptionally.  We  class  these  forma- 
tions among  the  DOUBLE-PHRASES,  without  denying  their  relationship 
to  the  period. 

Kind  of  Half-cadence. 

|  a.   Myn.          ,.          J||| 

54.  gggEpTT1  *  r  TrfcSZL-.m 

^J  ^&~ 


Kind  of  Imp.  Auth.  Cadence. 

J|         MOZABT. 
i.l* 


-igl 


i=i 


MOZABT. 
Ini.  Cad. 


Kind  of  Half-cadence. 


MOZABT. 


Imp.  Auth.  Cad.  I 


T  was  very  partial  to  this  construction,  and  used  it  in  many 
of  his  finest  compositions,  but  constantly  treats  it  as  Thesis,  or  even  as 
part  of  a  Thesis.  BEETHOVEN'S  Egmont-overture  also  begins  with 
such  a  phrase. 

Similarly  constructed,  but  still  more  closely  allied  to  the  double- 
phrase,  is  the  following  Thesis  of  the  Pilgrims'  Chorus  in  Tann- 
hduser : 


THE   LAEGE  THREE-PART  PERIOD. 


55 


Andante. 


55.  ^jT^|^:^^g=g^=^=j|^| 


V     WAGNEB.' 


1  etc. 

45.  The  character  of  mere  repetition  appears  still  more  plainly 
when  both  subordinate  phrases  form  Half-cadences,  as  in  the  following 
theme  from  MENDELSSOHN'S  a-minor  Symphony : 


Allegro. 


MENDELSSOHN. 


Half-cad,  in  (T-major. 


etc. 
Half-cad,  in  e-minor. 


FIFTH    EXERCISE    (3). 
Compose  some  phrases  of  this  kind,  after  the  foregoing  models. 


CHAPTER    VIII. 

THE    LARGE    THREE-PART    PERIOD. 

46.  The  LARGE    THREE-PART    PERIOD  has  the  following  con- 
struction : 

Thesis  :  8  measures. 
Middle  group  :  8  measures. 
Antithesis  :  8  measures. 

This  form  sometimes  takes  the  place  of  the  small  three-part 
primary  form.  It  has  no  need  of  special  practice.  Here  follows  an 
example  from  one  of  MOZART'S  early  works ;  it  contains,  however,  a 
small  irregularity,  viz.,  the  extension  of  the  second  group  to  the  length 
of  nine  measures,  which  will  come  under  discussion  later. 


THE   ELEMENTS  OF   MUSICAL  FORM. 
Allegro.    Thesis. 


T=£t 


57. 


Sites1*1 
^-fcfctt-zEE 


^ 


^ fij L 

^^^^HE: 


Middle 


Group. 


^^3^f 
-* •—•-§*- 


I     *f      I       I 


EEEEEfefE^E? 


^:-b-kT—      F'-M'^^^-r-I    ^-          — g>— 

'-^ 


^ 


THE   SMALL  THREE-PART   PRIMARY   FORM. 


57 


§rtr~1riT~   ~~&r~  —  r  —  ^  — 

MOZABT. 

1     1     1     1        tr. 

—  i  —  ITT  J"t~i  —  r  —  \  r 

BQZjZ        M  ,  J 

cjcsc      H*  -  • 

.       .  ^i  

EEEEEESiliHE 

—  \ 

1    ^    ^« 

•  r  i  J      ^  ,*& 

L 

_r    *-r^ 

*•     >*1  =b^ 

—  "                                       etc. 

C|*   U-t—  .  fe  — 

ir= 

«  1  r 

—  1  1  1  

:?  tTi  fH?—  W5*  '  

=^  —  a_U''i_l<c      JS  

Mbs- 

-i    ih  —  3  —  l— 

nr 


47.  In  most  cases  the  large  three-part  period  is  regarded  as  a 
three-part  primary  form  in  which  the  period-form  of  the  Thesis  and 
Antithesis  (first  and  third  parts)  is  lacking,  and  large  phrases  take 
the  place  of  8-measure  periods,  which  is  almost  invariably  the  case  in 
the  second  part  (middle  group). 

Examples  of  this  species  Avill  be  found  in  the  exercises  on  the 
three-part  primary  form. 


CHAPTER     IX. 

THE    SMALL    THREE-PART    PRIMARY    FORM. 

48.  The  THREE-PART  PRIMARY  FORM  is  constructed  by  inter- 
polating between  the  two  divisions  of  the  third  two-part  primary  form 
(see  Par.  37,  38)  a  division  having  the  same  dimensions.     This  added 
part  is  only  exceptionally  in  period-form,  having  for  the  most  part, 
for  the  sake  of  variety,  any  one  of  the  8-measure  phrase  forms  (Chap- 
ter VII). 

49.  The  three  divisions  of  this  primary  form  are  severally  named, 
according  to  their  order, 

FIRST  PART, 
SECOND  PART, 
THIRD  PART. 

In  common  parlance,  however,  the  second  and  third  parts  are  classed 
together  as  Second  Part,  because  they  are,  as  such,  frequently  repeated, 
and  stand  in  common  between  signs  of  repetition.  The  following  is 
the  scheme. 

FIRST  PART. 

50.  THESIS  closes  with  Half-cadence;  or,  with  the  imperfect — 


58  THE    ELEMENTS   OF   MUSICAL   FORM 

exceptionally  the  perfect — authentic  tonic  cadence;  or,  with  authentic 
cadence  in  the  key  of  the  dominant. 

ANTITHESIS  closes  (a)  in  major :  in  the  tonic ;  or,  in  the  key  of 
the  dominant ;  or,  in  the  key  (minor)  of  the  mediant. — (b)  In  minor: 
in  the  tonic;  or,  in  the  normal  key  (minor)  of  the  dominant ;  or,  in 
the  parallel  major  key. 

THIRD  PART. 

51.  THESIS  closes  just  as  in  the  first  part,  the  Half-cadence  pre- 
dominating still  more. 

ANTITHESIS  closes  in  the  tonic. 

REMARK. — The  first  and  the  third  part  may  therefore  under  certain  circum- 
stances be  exactly  alike  in  construction. 

52.  Between  these  two  divisions  the  three-part  primary  form 
interpolates  a 

SECOND  PART, 

of  the  same  dimensions,  which  usually  closes  with  a  Half-cadence,  in 
order  to  introduce  the  third  part.  This  second  part  may  be  con- 
structed out  of  new  material,  all  the  more  so  when  there  is  great  simi- 
larity between  the  first  and  the  third  part. 

53.  The  application   of  the   large   phrase-form   (Chapter  VII), 
instead  of  the  period-form,  is  feasible,  not  only  in  the  second  part  (as 
already  stated),  but  also  in  each  of  the  two  other  parts,  at  pleasure. 


SIXTH    EXERCISE. 

Compose  pieces  in  small  three-part  primary  form,  partly  from  former 
exercises,  partly  of  neiv  material. 

It  will  also  be  a  very  useful  exercise  to  point  out,  in  single  one-voiced  melo- 
dies, all  the  features  of  the  formal  construction  here  indicated. 


MODELS. 

a.    Allegro  assai. 

First  Part.  n,,—  | 

~ 


THE  SMALL  THREE-PART  PRIMARY    FORM. 
Second  Part. 


59 


1 


BEETHOVEN. 


M     "          ~                «««i 

•       *r      i* 

»     *r       II 

fm  - 

7         ' 

P  —  2     C 

-P  —  3  U  

Abbreviated  Antithesis.* 

F^     0^       f 

A.  ft       J           ^  J*  j 

•f     * 

~f  —  *r  —  tt~ 

fm         5               fl* 

7    --^ 

3      f 

.  5                      1 

b.    Allegretto.    First  Part. 

K 


^  *  ^^**^*^^  i 

-^^-^-g'T'^  [    |  -i.          j  :£=Hir=i 

^^^P 

'    •    •  •    "  *5TT»  ^  ^ ^9 


Period. 


*  Here  two  measures  are  lacking,  through  abbreviation.  See  Chapter  XIII. 
This  license,  however,  should  not  yet  be  imitated  here.  Nevertheless,  the  exam- 
ple was  chosen  on  account  of  the  clearness  of  the  construction  of  the  second  part. 


THE   ELEMEJfTS  OF  MUSICAL  FORM. 


Second  Part. 


Double  Phrase. 


Third  Part. 


Period. 


BEETHOVEN. 


m 


i 

•«• 


* 


. 


C.    Allegro.    First  Part. 

^i«3 


Second  Part,  with  similar  matter. 

tr.  .» 


Third  Part. 


BEETHOVEN. 


d.    Attegro.    First  Part. 


i 


THE   SMALL  THREE-PART  PRIMARY   FOKM. 


61 


|     Una.  I  I  ado. 


Second  Part. 


r       r 


r9r3ir         |*N-      ^-5:          ^         ^ 


-x    ^-^^^R1'-^-^  -f^x  -^xi  r  F>%  ~^K  i^>s— f- 


THE  ELEMENTS  OF  MUSICAL   FORM. 


FOURTH    DIVISION. 
THE     LAEGE     PKIMAEY     FOEMS. 


CHAPTER    X. 
THE    LARGE    TWO-PART    PRIMARY    FORM. 

54.  Two  8-measure  phrases  combined  form  the  16-measure  period 
(Par.  41),  two  16-measure  periods  the  32-measure  or  LARGE  PRIMARY 
FORM. 

55.  By  repetition  of  the  parts,  whether  they  be  repeated  note  for 
note,  as  indicated  by  the  signs  |:  :||,  or  whether  they  be  varied  and 
written  out,  the  number  of  measures  is  increased  to  64.     Such  a 
64-measure  primary  form  is  for  example  the  Trio  in  Z^-major  of 
BEETHOVEN'S  /"-major  Sonata,  Op.  10,  No.  2. 


59. 


etc. 


The  variation,  however,  is  limited  here  to  the  first  part,  whilst  the 

second  part, 


THE  LAEGE  THEEE-PART  PEIMAEY   FOEM. 


63 


60. 


is  literally  repeated.  The  last  six  measures  of  the  Trio  do  not  belong 
to  the  form,  but  constitute  an  independent  introduction  to  the  follow- 
ing part,  in  /-minor : 


SEVENTH    EXERCISE. 

Compose  pieces  in  two-part  large  primary  form. 

As  model,  take  the  Trio  already  quoted  from  the  .F-rnajor  Sonata  ;  its  insertion, 
here,  entire,  would  occupy  too  much  space. 


CHAPTER     XI. 

THE    LARGE    THREE-PART    PRIMARY    FORM. 

56.  As  two  large  periods  combined  constitute  the  two-part  large 
primary  form,  so  the  combination  of  three  such  periods  gives  the 
LABGE  THEEE-PART  PRIMAEY  FOBM. 

57.  The  harmonic  relations  of  the  cadences  of  the  parts,  recipro- 
cally, remain  the  same,  as  explained  in  Chapter  IX. 

58.  In  the  ordinary  Dance-forms  (see  Chapter  XXII)  the  second 
period  is  commonly  called  Second  Part,   and  forms,  without  thematic 
connection,  generally  a  perfectly  independent  movement  in  the  key  of 
the  dominant. 

59.  But  when  the  second  part  is  thematically  connected  with  the 
first,  it  takes,  seldom  the  form  of  the  period,  oftener  that  of  connected 
phrases.     This  arises  naturally  from  the  necessity  of  different  con- 
struction of  the  parts  when  there  is  thematic  relationship. 


64 


THE  ELEMENTS  OF  MUSICAL  FORM. 


6O.  This  form  is  the  predominant  one  among  the  primary  forms. 
To  it  belong,  for  example,  the  greater  number  of  the  Minuets  and 
Scherzos  of  the  classical  Symphonies,  Quartets  and  Quintets,  Sonatas 
for  one  or  two  instruments.  Still  the  form  is,  in  almost  all  these 
movements,  by  means  of  extensions  and  abbreviations,  somewhat 
modified,  though  often  quite  'immaterially.  We  give  here,  therefore, 
an  example  from  a  newer  composer,  the  Trio  from  MENDELSSOHN'S 
^4-major  Symphony,  as  showing  exactly  the  division  into  three  times 
sixteen  measures,  moreover  as  being  worthy,  in  its  subject-matter,  of 
ranking  with  the  classical  masterpieces. 


fe:   |    H-L-j — ---l — 


Thesis. 


(From  this  place  Melodic  Extract,  to  be  filled  out  from  the  original.) 


Second  Part. 


EXTENSION. 

-f^a   1      1  ,-J 

65 

•«• 

*ifW        f     m  m        sy 

*1                 1  1 

fl*  —  ?-*—  ^-^—  j—  v  *  —  -»}*- 

—    F,  ...  i  l^i  

Mr  

•     ~  —  t  —  -•— 

MENDELSSOHN. 


Third  Part. 
(Like  the  first  part, 
16  measures.) 


From  this  point  on  it  is  advisable  to  write  the  exercises  for  the 
string-quartet,  as  piano-composition  too  easily  leads  to  careless  voice- 
leading. 

EIGHTH    EXERCISE. 

Compose  pieces  in  large  three-part  primary  form. 


FIFTH    DIVISION. 
LICENSES     OF     CONSTRUCTION. 


CHAPTER    XII. 
EXTENSION. 

61.  Without  its  changing  the  form  on  the  whole,  the  extension  of 
a  part  by  an  adjunct,  called  Coda,  growing  out  of  the  context,  is  often 
met  with.  One  of  the  simplest  examples  of  this  is  the  theme  given  in 
Fig.  25  b,  from  MOZART'S  A  -major  Sonata.  Instead  of  closing  the 
second  period  exactly  like  the  first,  the  composer  gives  it  an  imperfect 
authentic  cadence,  and  appends  the  perfect  cadence  in  a  rhythm  of 
two  measures. 


Im.  Cad 


63. 


66 


THE   ELEMENTS   OF   MUSICAL   FORM. 


62.   BEETHOVEN  appends  to  the  close  of  the  three-part  small 
primary  form  (see  Fig.  31  a), 


a  group  of  seven  measures,  thus  : 


_       ^^^^^?_  i  —  i  —  *_i  —  i 


In  the  Eondo  of  the  same  Sonata  (see  Fig.  48), 


he  extends,  in  the  same  way  as  MOZART  in  the  example  cited  above 
(Fig.  63),  the  close  of  the  second  period  by  two  measures  : 


67. 


•»  J*l  t* — 

i 1 — •! —  1 — ' 


A  similar  extension  is  seen  in  the  Theme  of  the  Largo  appassionato 
of  the  A  -major  Sonata,  Op.  2: 


68- 


frf;  r:^s  ry  ; 

-Z-Z  .Z-S  ZT-Z 


63.  Here,  however,  the   composer  leads  the  Antithesis   of  the 
second  period  into  the  key  of  the  Subdominant,  before  bringing  it  to 


EXTENSION. 


67 


a  close.     Thereby  the  four  measures  of  the  Antithesis  are  augmented 
to  seven. 


•f 


*f 


&E 


pj=gk 


S=k=t3&^ 


64.  The  extensions  thus  far  noticed  are  limited  to  the  addition  of 
bikl  few  measures.     But  in  the  Ab-major  Sonata,  Op.  26,  we  find  in 
the  Trio  a  two-part  primary  form  whose  second  period  is  extended  to 
double  the  length — 16  instead  of  8  measures — and  thus  belongs  to  the 
large  period-form.     Pieces  like  this,  therefore,  hold  the  middle  place 
between  the  large  and  the  small  primary  form,  being  made  up  of  com- 
ponent parts  of  both  forms. 

NINTH    EXERCISE    (1). 

Work  over,  by  extension,  some  of  the  small  two-part  primary  forms 
composed  for  the  fourth  exercise. 

65.  In  the  small  three-part  primary  form  are  found  extensions  of 
the  same  kind.     Thus,  the  third  part  in  the  Allegretto  of  BEETHO- 
VEN'S jP-major  Sonata,  Op.  10,  is  enlarged,  first,  by  an  interpolated 
imitation,  occupying  two  measures: 


70. 


next,  the  last  four  measures  are  repeated  in  the  lower  octave, 


68 


THE   ELEMENTS   OF   MUSICAL    FORM. 


and  finally,  a  closing-group  (or  period  ?)  of  8  measures  is  added. 


In  this  way  the  third  part  of  this  small  three-part  primary  form  is 
extended,  by  interpolation,  repetition,  and  Coda,  to  almost  threefold 
length,  forming  22  instead  of  8  measures. 

66.  A  similar  course  is  pursued  with  the  middle  group  of  the 
Scherzo  of  BEETHOVEN'S  -4-major  Sonata,  Op.  2,  No.  2,  beginning 
thus : 


73. 


etc. 


This  motive  predominates  in  the  first  part,  which  is  repeated. 

The  second  part  modulates,  with  the  same  motive,  from  ^4-major 
in  8  measures  to  <7$-minor,  whereupon  a  2-measure  cadence  in  this 
key  follows.  But  then  an  entirely  new  phrase  is  formed  in  the  same 
key — oft-minor — which  leaves  the  key  at  the  8th  measure,  to  modulate 
back  to  ^4-major  in  five  measures. 


74. 


HI 


n&TTf'  *^-T-ffis»  -I 
igL-L      I    I -EJiEEJP 

r^          ^t-c^-u 


EXTENSION. 


69 


»   £» 


EEJFEE: 


Hereupon  follows,  according  to  the  rule,  the  first  part  as  third 
part,  but  with  a  Coda  of  four  measures. 

67.  In  the  Hondo  of  the  e-minor  Sonata,  Op.  90,  the  small  .three- 
part  primary  form  is  carried  out  according  to  rule,  but — the  middle- 
group  is  repeated : 


Middle  Group. 


75. 


m 


while  Thesis  and  Antithesis  (see  Fig.  29  c)  have  no  repetition. 

We  observe,  incidentally,  that  we  have  here  a  small  three-part 
primary  form,  each  part  of  which  makes  a  perfect  authentic  tonic 
cadence,  the  second  part,  in  consequence  of  the  repetition,  even  twice. 

NINTH    EXERCISE    (2). 

Make  extensions  of  some  of  the  small  three-part  primary  forms 
already  composed  as  exercises. 

68.  Extension  of  the  large  two-part  primary  form  is  seen  in  the 
Adagio  of  the  6r-major  Sonata,  Op.  31.  The  close  of  the  first  period 
is  here  in  the  sixteenth  measure,  where  also  the  Thesis  of  the  second 
period  begins. 

Close. 


70 


THE   ELEMEOTS   OF   MUSICAL   FORM. 


This  Thesis  of  the  second  period  has  10  instead  of  8  measures,  and 
in  the  10th  has  moreover  a  protracted  cadenza 


tr. 


which  leads  back  into  the  8-measure  Antithesis. 

69.  Similarly,  in  the  Theme  of  the  Variations  with  which  the 
A  !?-major  Sonata,  Op.  26,  begins,  the  middle-group,  Thesis  of  the 
second  period,  is  lengthened  by  two  measures  : 


tr. 


78. 


70.  The  extension  may  of  course  be  applied  to  any  part  of  the 
large  two-part  primary  form,  though   further  exemplification  is  not 
deemed  necessary. 

NINTH    EXERCISE    (3). 

Enlarge  some  of  the  large  two-part  primary  forms  already  com- 
posed. 

71.  Although  the  large  three-part  primary  form  is  in  itself  of  very- 
great  dimensions,  yet  it  is  very  often  extended  to  still  greater  ones. 

Instead  of  many  examples  in  abridgment  we  give  here  one  in  its 
entirety,  the  Scherzo  of  BEETHOVEN'S  Third  Sonata.  It  begins  with 
a  IG-measure  period,  based  on  an  imitation.  The  period  is  repeated. 


EXTENSION. 


79. 


-fi  —  T  — 

8 

*-, 

r  *&-< 

r\  PEE 

^ 

^.^L_- 

'fi     *    ~ 

0^     J6 

IH;  4  — 
P 

^u  i  _^  

Thesis.                                  LJiJ 

'.  rr 

'. 

3  :-£-«_ 

4l 

E 

s 

5 

"^  —  BJ 

tf 

p- 

«- 

+  ry| 

Antithesis. 


^=f-j-U-j-j-^j^^fe^r"tf~j~j 


The  second  part,  immediately  following  this,  begins  with  the  same 
imitation,  and  after  sixteen  measures  is  also  found  in  the  key  of  the 
Dominant,  hence  is  ready  to  lead  into  the  third  (repeated  first)  part, 


80. 


c-miuor. 


fib-minor. 


___^.. 


THE   ELEMENTS  OF  MUSICAL  FORM. 


^1  tt-major. 


c-minor. 


^  -s-   ^  -t- 

P--I      l^^z 


sf 


This  transition  into  the  third  part  is,  however,  here  delayed  by  a 
varying  repetition  of  the  half  -cadence  formula,  which  takes  up  7  meas- 
ures —  the  eighth  measure  is  at  the  same  time  the  first  one  of  the 
third  part. 


81. 


*f. 


sf. 


EgSG~LT= 


* *-S»— ^-rT1 

u— J-t^ 


dim. 


PP 


To  the  regularly  constructed  third  part  is  added  a  Coda  of  9  (8  +  1) 

measures. 


ABBREVIATION. 


73 


NINTH    EXEECISE    (4). 

Extend  some  of  the  pieces  in  large  three-part  primary  form  already 
composed. 


CHAPTER    XIII. 

ABBREVIATION. 

72.  Abbreviation  applies,  of  course,  chiefly  to  the  large  primary 
forms  of  great  dimensions,  especially  to  the  three-part  form. 

73.  An  example   of  abbreviation   of  the  first  part  is  found  in 
BEETHOVEN'S  1st  Sonata,  in  the  Minuet,  whose  first-period  consists  of 
3  x 4  +  2  =  14,  instead  of  4x4  measures.     (The  second  part  also  is 
here  reduced  to  14,  the  third  to  12  measures.) 

74.  The  second  part  is  frequently  composed,  after  the  manner  of 
the  small  primary  form,  of  8  measures,  as  for  example,  in  the  Minuet 
of  the  D-major  Sonata,  Op.  10. 

Here  the  first  part  is  regularly  composed  of  16  measures,  closes  in 
the  tonic  harmony  and  is  repeated. 


83. 


74 


THE   ELEMENTS  OF  MUSICAL  FORM. 


The  second  part,  however,  has  only  8  measures,  and  consists  of  a 
sequence  through  the  circle  of  Fourths,  i-minor  to  Z)-major,  in  4  x  2 
measures : 


84. 


75.  In  such  cases,  which  are  very  frequent,  large  and  small  form 
appear  united ;  as  it  were,  mixed.  (In  the  example  quoted  the  subse- 
quent third  part  is  considerably  enlarged,  from  16  to  29  measures.) 

7G.  In  MOZART'S  .fi^-major  Symphony  the  second  part  of  the 
Minuet  is  also  reduced  to  8  measures  : 


85. 


The  third  part  of  the  same  is  lengthened  by  4  measures. 
77.  In  the  Minuet  of  the  great  (7-major  Symphony  of  the  same 
master  the  second  part  is  reduced  to  12  measures  : 


86. 


TEXTH    EXERCISE    (1). 

Compose  abbreviations  of  large  three-part  primary  forms. 

78.  In  the  large  two-part  primary  form  abbreviations  are  in  gen- 


ABBREVIATION.  75 

eral  not  advisable,  as  too  noticeably  disturbing  the  symmetry  of  the 
two  parts,  which  is  not  the  case  to  the  same  extent  in  the  three-part 
form. 

79.  In  the  small  three-part  primary  form  occasionally  occurs  abbre- 
viation of  the  middle-group,  as  in  the  next  two  examples : 


87. 


Middle  Group,  four  measures. 


db 


i 


ij 


MOZABT. 


£|p---fp3=f=f^P^E£%=| 


b. 


Middle  Group,  four  measures. 


3=3 


~c      U  L  •  E 


BEETHOVEN. 


ff 


•f 


etc. 


t-i-m — m---0 — m—~-f — f  '  \     i   f fc— 

a^y — e-^H — r  .  i — t-Hr-  -t — 9t9 


In  the  Andante  of  BEETHOVEN'S  D-major  Sonata,  Op.  28,  the  last 
part  is  abbreviated  by  two  measures. 


76 


THE   ELEMENTS   OF   MUSICAL   FORM. 


£  •*•  *ti. 

"^    n 

8O.  The  sraaW  two-part  primary  form,  as  being  already  of  the 
smallest  dimensions,  rarely  exhibits  abbreviations. 

TENTH    EXERCISE    (2). 
Abbreviate  one  or  two  small  three-part  primary  forms. 


CHAPTER    XIV. 

COINCIDENCE    OF    THE    FINAL    AND     INITIAL    MEASURES 

(OVERLAPPING). 

81.  It  often  occurs,  especially  in  larger  constructions,  that  the 
last  measure  of  a  group  coincides  with  the  first  one  of  the  next  group ; 
in  other  words,  that  a  group  begins  with  the  same  measure  with  which 
the  preceding  group  closes,  so  that  one  single  measure  combines  in 
itself  end  and  beginning.  Such  a  measure  is  to  be  regarded  as  belong- 
ing equally  to  both  groups,  and  thus  counts  double.  This  peculiarity 
of  overlapping,  as  it  is  called,  is  indicated  in  rhythmical  cipher  by  a 
tie,  placed  behind  the  figure  for  the  final  measure,  before  the  figure  for 
the  initial  measure.  Thus,  for  instance,  4—'  indicates  a  4-measure 
group,  or  Tetrameter,  whose  final  measure  at  the  same  initiates  a  new 
group ;  on  the  other  hand,  -—4  indicates  a  Tetrameter  whose  initial 
measure  at  the  same  time  ends  a  group  immediately  preceding.  In 
the  practice  of  the  young  composer  thus  far,  such  measures  occur 
almost  exclusively  in  the  transition  from  the  middle-group  into  the 
last  part,  whether  the  latter  form  the  third  period  or  the  Antithesis 
of  the  second.  Thus,  for  example,  in  the  middle-group  quoted  in 


COINCIDENCE   OF  THE    FINAL   AND   INITIAL   MEASURE. 


77 


Fig.  86  (MOZART),  the  third  part  begins  at  the  last  measure ;  its  first 
measure  therefore  coincides  with  the  last  one  of  the  second  part. 


In  the  same  way  the  measure 


in  Fig.  79  belongs  in  the  later  course  of  the  piece  both  to  the  third 
part  as  beginning  and  to  the  second  part  as  close  of  Eig.  81,  and  ekes 
out  the  second  part  into  an  Octameter  (group  of  eight  measures). 

82.  In  counting  the  measures,  however,  it  must  be  carefully 
noticed  with  which  metrical  part  the  group  begins,  for,  in  the  theory 
of  form  the  measures  do  not  count  from  bar  to  bar,  but  from  one 
metrical  part  to  another  of  the  same  order, — here,  for  instance, 


from  the  second  quarter-note  of  each  measure  to  the  second  quarter- 
note  of  the  following  measure.     See  Par.  3. 

The  student  should,  by  way  of  practice,  alter  some  of  his  previous 
exercises,  introducing  some  few  groupings  of  this  kind,  in  which  the 
initial  measure  and  the  final  measure  overlap. 


THE   ELEMENTS   OF  MUSICAL   FOEM. 


CHAPTER     XV. 

IRREGULAR    GROUPINGS    OF    MEASURES. 

83.  We  have  already  seen  that  in  the  regular  rhythmical  order  the 
measures  are  grouped  by  2,  4,  8,  16,  etc.     Among  the  irregular  group- 
ings which  make  exceptions  to  the  general  regularity  observed  in  the 
different  forms,  the  most  common  are  the  Trimeter  (3-measure  group) 
and  the  Pentameter  (5-measure  group). 

84.  The  Trimeter  may  be  regarded  as  either  an  extension  of  the 
Dimeter  (2-measure  group),  or  a  contraction  of  the  Tetrameter  (4-meas- 
ure  group).    The  Minuet  of  MOZAKT'S  g- minor  Symphony  begins  with 
two  Trimeters. 


92. 


These  may  be  regarded  either  as  extensions  of  the  Dimeters  in  Fig. 
93  a,  or  as  contractions  of  the  Tetrameters  in  Fig.  93  b. 


85.  The  special  esthetic  effect  of  such  irregular  formations  is 
based   on   this — unconsciously  made — comparison   with   the   regular 
formations. 

86.  BEETHOVEN  and  his  successors   often  expressly  mark  such 
Trimeters  as  Ritmo  a  tre  battute  (rhythm  of  three  measures).     The 
most  notable  example  of  this  is  in  the  Scherzo  of  the  Ninth  Symphony, 
where  the  trimeter 


servos  for  a  verv  extensive  thematic  elaboration. 


IRREGULAR   GROUPINGS   OF    MEASURES. 


79 


87.  The  Pentameter  is  most  generally  regarded  as  formed  from  a 
Tetrameter  by  extension — the  following,  for  example, 


m 


etc. 


b. 


from 


or  from 


-p-ffe 

r   f  .•- 

-£  f                                            t=l 

VHP-y 

r  

H  y— 

-f-  

^                     1 

£E 


and  the  following  opening  of  MOZART'S  small  Z>-major  Symphony, 

a.  f&     -f-" 

96.  p^ife^iz=:4====£ 

\3. 

r--A-< 

say,  from 


Hpi^ilta 


etc. 


88.  Other  irregular  groups  of  7,  9,  11,  13  measures,  are  likewise 
«een  to  be  extensions  or  contractions  of  the  regular  formations  nearest 
to  them. 

89.  The  irregular  groupings  of  measures  are  of  importance  for 
larger  constructions,  in  so  far  as  they  from  time  to  time  effectively 
interrupt  the  uniformity  of  the  two-measure  rhythmical  order.     In 
general  it  will  be  found  that  precisely  the  greatest  masters  of  form  are 
partial  to  free  and  bold  construction,  and  by  no  means  like  to  be 
restricted  to  the  limits  of  uniformity  in  rhythmical  formations.* 

90.  Not  to  be  confounded  with  the  Trimeter,  the  Pentameter, 
and  other  organically  irregular  rhythms,  are  certain  seemingly  irregu- 
lar groups  arising  from  the  extension  of  the  regular  form  of  the 
phrase,  etc.,  by  short  additions  external  to  the  form,  therefore  not  to 

*  A  curious  instance  of  rhythmical  irregularity  is  found  in  one  of  MENDELS- 
SOHN'S "  Songs  without  words," — Xo.  30,  in  A  major  (Spring-song1,  in  which  the 
large  opening  period  ends  at  the  loth  instead  of  the  16th  measure. 


80 


THE  ELEMENTS  OF  MUSICAL  FOKM. 


be  reckoned  as  really  modifying  it.     Some  of  these  extensions  shall 
now  be  noticed. 

91.  For  making  a  marked  separation,  when  desirable,  between  two 
phrases,  an  additional  measure  is  sometimes  employed  instead  of  a 
pause  over  the  last  note  of  the  first  phrase,  as  in  the  following 
examples  : 

a.    Allegro.  SCHUBEBT. 


The  above  two  phrases  are  to  be  regarded  as  composed  each  of  four 
measures,  the  measures  marked  by  the  bracket  being  really  external 
to  the  rhythm. 

92.  The  addition  of  a  measure  or  two  over  and  above  the 
rhythmical  form  is  sometimes  for  the  sake  of  uniting  phrases  or 
periods,  etc.,  forming  as  it  were  a  link  between  them.  This  is  often 
the  case  when  a  new  key  is  to  be  introduced. 


98. 


Andante. 

,    r 

V 

i  ^TT 

#J            [  ' 

1                                  •          m      \ 

?~5—  J-—  f 

EiB±i: 

—  F—  £  —  £- 
-b-[  —  y- 

1  —  T~~*  —  *—*-•- 

-_     M  

F^f=S=F= 

Link.       i 


BKBTHOTBH. 


LICENSES   OF   MODULATION.  81 

CHAPTER    XVI. 

LICENSES    OF    MODULATION. 

93.  To  any  one  who  has  studied  harmony,  modulation  in  any 
form  can,  of  course,  not  be  difficult,  and  to  the  experienced  contra- 
puntist it  can  be  but  child's  play.    Exercises  in  modulation  can, 
therefore,  at  this  advanced  stage  of  our  study,  be  dispensed  with.    In 
the  composer's  practice,  however,  the  requirement  of  novelty  often 
decides  in  favor  of  a  more  heterogeneous  modulation,  even  without  an 
evident  inner  necessity.     It  is  not  requisite  to  assign  the  experiential 
or  logical  limitations  of  such  procedure,  the  student's  absolute  mastery 
over  the  harmonic  material  being  assumed  as  a  matter  of  course. 
Nevertheless,  let  one  example  show  how  what  is  seemingly  heterogene- 
ous results  from  inner  necessity,  then  appears  in  itself  well  grounded, 
in  keeping  with  Us  context,  and  conformable  to  nature. 

94.  In  the  most  celebrated    of    all    funeral    marches,   that  in 
BEETHOVEN'S   ^4b-major  Sonata,  Op.   26,  occurs  the  extraordinary 
modulation  from  ab-minor  into  a  close  of  a  part  in  D-major. 

The  March  itself  belongs  to  the  three-part  primary  form.  It  forms 
at  first  an  8-measure  period,  which  closes  in  the  parallel  major  key — 
(7b-nia;jor,  and  whose  Thesis  ends  with  a  Half-cadence  (on  the  domi« 
nant) ;  so  far  all  is  perfectly  regular.  But  now,  instead  of  repeating 
this  period, — whether  literally  or  with  some  variation, — BEETHOVEN 
transposes  it  into  the  minor  mode  of  the  afore-mentioned  parallel 
key — that  is,  into  cb-minor.  From  this  transposition  arises  the  modu- 
lation, for  the  parallel  key  of  dp-minor  is  H/typ-major,  which  is  enhar- 
monically  the  same  as  D-major.  Of  course,  BEETHOVEN  introduces, 
for  greater  ease  in  reading,  the  enharmonic  change  already  at  the 
entrance  of  c?-minor,  which  he  writes  as  b-minor. 

95.  This  transposition  might  be  regarded  simply  as  a  repetition, 
like  one  indicated  merely  by  :  ||,  if  BEETHOVEN,  from  the  6th  measure 
on,  while  substantially  keeping  up  the  modulation,  yet  had  not  carried 
it  out  differently.   For,  the  first  time,  he  passes  by  way  of  the  dominant 
key  of  rtb-minor — eb-minor — into  the  parallel  key — C'b-major;  but  the 
second  time,  by  way  of  the  subdominant  key  of  J-minor — e-minor — into 
the  parallel  key,  Z)-major.     This  difference  in  the  manner  of  carrying 
out  what  is  substantially  one  and   the   same  modulation,   militates 
against  the  conception  of  this  case  as   one  of  mere   (transposed) 
repetition. 


82 


THE    ELEMENTS   OF  MUSICAL    FORM. 


1st  Period. 


2d  Period. 


=j3=^feJ^iN^iiii|i^F 

~y.\3f.f£f.      221  ; 


96.  We  have  here,  then,  a  double-period   (see   Par.    36)    of   16 

(2  x  8)  measures,  as  first  part  of  the  primary  form. 

97.  The  second  part  (middle  group)  is  shortened  to  four  measures, 
with  transition  into  the  third  part.     The  modulation  from  Z)-major 
into  the  (major)  key  of  the  dominant  of  ab-minor — .Z?l?-major,  is  at 
once  eifected  by  means  of  the  diminished  septimachord — d — «b— / — 
cb,  enharmonically  substituted  for  d — $(—f\ — b.     See  Fig.  87  b. 

98.  The  third  part  has  period-form  and  is  extended  to  ten  meas- 
ures.   There  is  no  repetition. 

99.  All  things  being  considered,  we  are  compelled,  in  determin- 
ing the  form,  to  decide  in  favor  of  the  small  three-part  primary  form, 
in  which  duplication  has  taken  the  place  of  repetition  of  the  first 
period,  while  the  second  part  is  reduced  to  half  of  the  regular  exten- 
sion, and  the  third,  otherwise  normally  constructed,  is  enlarged  by 
two  measures. 

With  the  esthetic  significance  of  this  march  and  of  its  modulation 
we  are  at  present  not  concerned.  This  is  acknowledged  with  admira- 
tion by  the  musical  world  generally,  so  that  there  is  scarcely  another 
composition  of  the  same  kind  to  be  compared  with  it. 

ELEVENTH    EXERCISE    (1). 

Transpose  this  march  info  various  keys,  either  in  ivriting  or  at  once 

on  the  pianoforte. 

100.  It  i.s  not  unusual  to  find,  in  modern  pieces  in  primary  form 
in  the  major  mode,  a  close  of  the  first  period  in  the  major  key  of  the 


NATURE  OF  THE  MOTIVE.  83 

Mediant, — for  instance,  in  jE'-major  in  a  piece  in  (7-major, — being  a 
variant  of  the  common  close  in  the  minor  key  of  the  Mediant  (see 
Par.  34).  Again,  in  a  piece  in  minor,  the  first  part  sometimes  closes 
in  the  major  key  of  the  Dominant, — in  tr-majo^  for  instance,  in  a 
piece  in  e-minor.  Generally  speaking,  in  modern  music  the  greatest 
stress  is  laid  upon  characteristic  harmonization  (modulation) ;  hence 
the  striving  after  singularity  in  this  particular  direction  must  be 
regarded  as  specially  characteristic  of  the  age.  This  circumstance 
calls  for  special  practice  in  modulation,  opportunity  for  which  shall 
now  be  afforded. 

ELEVENTH    EXEECISE    (2). 

N.  B. — In  the  exercises  under  this  head,  the  forms  of  the  usual 
cadences  are  to  be  avoided. 

(a)  Compose  ^-measure  phrases  which  make  an  unusual  modula- 
tion.     [7/i  the  major  mode  a  phrase  often  effectively  closes  with  an 
authentic  cadence  in  the  key  (minor)  of  the  SUPERTONIC.~\ 

(b)  Compose  LARGE  PHRASES  (see  Chapter  VII)  of  the  same 
kind. 

(c)  Compose  PERIODS  of  this  kind  with  cadences  of  the  parts  in 
unusual  keys. 

(d)  Compose  periods  of  this  kind  with  unusual  cadences  loth  of  the 
parts  and  of  the  close. 

(e)  Unite  such  periods  into  pieces  in  primary  form. 


SIXTH    DIYISIOK 
THE    MOTIVE    AND    ITS    DEVELOPMENT. 


CHAPTER     XVII. 
NATURE    OF    THE    MOTIVE. 


1O1.  Every  musical  thought  which  serves  as  subject  of  a  musical 
elaboration  may  be  called  the  MOTIVE  of  such  elaboration.  The  term 
"motive"  is,  however,  generally  applied  to  those  smaller  tone-groups 
out  of  which  a  musical  thought  is  spun.  In  this  sense  the  motive  is 
generally  contained  within  the  limits  of  one  measure,  and  is  then  the 


THE   ELEMENTS   OF   MUSICAL   FORM. 


last  unit,  or  tone-group  forming  a  whole,  into  which  the  section  may 
be  resolved. 

102.  The  doctrine  that  the  motive  is  generally  contained  within 
the  limits  of  one  measure  must  be  understood  as  implying,  first,  that 
the  motive  sometimes  exceeds  those  limits ;  and  secondly,  that  it  does 
not  always  fill  out   one   measure.     The   motive   forms  a  model  for 
elaboration  chiefly  in  its  character  of  well-defined  rhythm  (as  we  shall 
presently  see) ;  hence  the  limits  of  the  motive  would  seem  to  be  those 
of  the  rhythm,  irrespective  of  the  number  of  measures.     In  the  appli- 
cation of  this  principle,  however,  there  may  be  diversity  of  opinion, 
without  practical  importance. 

103.  The  following  period 


100. 


BEETHOVEN. 


^^^K^H^^  ^^*  ^^ 


Motive  3. 


Motive  4 


is  clearly  spun  out  of  four  motives.  Measures  2,  5,  6,  have  the  same 
rhythms  as  1,  the  model  rhythm,  filling  out  one  measure.  Measure  4 
is  tonally  different  from  3,  but  rhythmically  the  same.  Here,  too,  the 
motive  fills  out  one  measure,  as  does  motive  4  also.  Motive  3  fills 
only  half  of  the  measure.  Evidently,  then,  what  makes  measures  1, 
2,  5,  and  G,  one  and  the  same  motive,  despite  melodic  differences,  is 
the  rhythmical  similarity ;  and  the  same  is  to  be  said  of  measures  3- 
and  4,  and  of  the  two  diminutive  tone-figures  marked  "motive  3." 


101. 


Mot.  5. 


NATURE   OF  THE  MOTIVE. 


85 


104.  In  the  period  given  in  Fig.  101  there  is  less  clearness  as  to 
the  construction  and  the  number  of  the  motives.     If  the  limits  of  the 
several  rhythms  are  to  be  regarded  as  those  of  the  motives,  the  period 
is  constructed  from  three  motives,  each  contained,  in  two  measures. 
In  this  view,  the  small  tone-figures  severally  contained  in  measures  1 
to  6  constitute  motive-members.    These  same  tone-figures  may,  how- 
ever, be  regarded  as  severally  constituting  the  motives  of  the  period, 
as  indicated  by  the  shorter  brackets  below  the  staff. 

105.  It  is  clear,  then,  that  a  motive  is  not  subject  to  the  limita- 
tions of  one  measure,  but  may  either  exceed  it  or  fall  short  of  it,  and 
that  one  and  the  same  melody  may  be  analyzed — reduced  to  motives — 
in  various  ways.     The  motives  must,  however,  always  be  recognizable 
as  the  germs  of  the  melody,  in  order  to  serve  for  thematic  elaboration. 
As  a  rule,  they  will  not  exceed  one  measure,  without  being  reducible 
to  several  smaller  members  ;  they  may  on  the  other  hand  be  very  short, 
consisting  of  two  notes,  or  even  of  one  note  followed  perhaps  by  a  rest. 
The  shorter  they  are,  the  greater  is  the  necessity  that  they  should  be 
rhythmically  striking.     As  to  the  number  of  motives  to  be  employed 
in  a  piece,  it  may  be  said  in  general  that  the  fewer  there  are  of  them — 
provided  they  are  well  exploited*  and  are  in  themselves  interesting — 
the  better  for  the  unity  and  intelligibility  of  the  piece.     Not  many 
motives,  but  few  motives,  striking  and  thoroughly  elaborated, — this 
has  ever  been  the  rule  of  the  heroes  of  tone-poetry.     There  are  not 
lacking  in  the  compositions  of  the  masters  themes  developed  from  a 
single  motive,  and  sometimes  a  short  one  at  that.     The  first  period  of 
BEETHOVEN'S  violin  and  piano  Sonata  in  ^4-major,  for  instance,  is 
spun  out  of  one  single  short  motive  (or  motive-member),  thus, 


102. 


Allegro.  ^  '"^_       ^ 

^TI      Q  I  I  ^^      J     L^J— ' 


BEETHOVEN. 


_._ 


*  A  word  from  the  French,  signifying  to  exhaust,  to  work,  to  turn  to  account, 
to  make  the  most  of,  etc.     See  Worcester's  Dictionary  (1881),  Supplement. 


86 


THE   ELEMENTS   OF   MUSICAL   FOEM. 


In  composing  sections,  phrases,  and  periods  for  his  exercises,  the 
student  has  thus  far  not  been  called  upon  to  consciously  spin  them 
out  from  small  tone-figures  as  germinal  musical  thoughts.  He  may 
now,  after  having  become  acquainted  with  the  rudiments  of  formal 
structure,  give  his  attention  specifically  to  the  systematic  develop- 
ment of  the  motive  into  the  section,  the  phrase,  etc.,  by  the  various 
processes  to  be  detailed  in  the  next  chapter. 


CHAPTER    XVIII. 

DEVELOPMENT    OF    THE    MOTIVE. 
REPETITION. 

106.  The  attentive  student  will  have  observed  that  in  a  great 
number  of  the   examples   thus  far  given  in  this  work,  a  motive  is 
developed  by  REPETITION,  in  a  stricter  or  a  looser  sense.     In  fact, 
since  development  implies  a  certain  similarity  to  the  original  type, 
each  of  its  different  processes  comes  under  the  head  of  a  certain  kind 
of  repetition.     Nevertheless,  for  greater  clearness  we  shall  make  a 
separate  classification  of  those  processes  which  fall  more  strictly  under 
this  bead. 

107.  The  repetition  of  a  motive  is  either  absolute  or  relative.  The 
former  kind,  of  coarse,  includes  all  the  features  of  the  motive — 
rhythmic,  melodic,  and  harmonic,  conjointly,  as  in   the  following 
example : 


Allegro  con  brio. 


BEETHOVEN. 


103. 


r  w? 


'— t 


etc. 


1O8.  Under  relative  repetition  are  included  the  various  transposi- 
tions of  the  motive  to  other  degrees  of  the  scale,  its  principal  feature — 
the  rhythm — remaining  unaltered,  or  not  materially  altered.  Exam- 
ples of  this  are  Figs.  10,  14,  and  the  following : 


DEVELOPMENT  OF  THE  MOTIVE.  8? 

BEETHOVEN. 


104. 


S=S=£STS=S hF^=r=rTl  r~»=FTF 

^R^^-^gfcEE^^MEft 


t_\±Jt-tt+-'. ;t;3L3LJ 


etc. 


Sometimes  this  transposition  involves  modulation,  for  instance : 


105. 


1O9.  The  repetition,  iw  a  certain  regular  order,  of  a  figure  com- 
posing a  motive  constitutes  what  is  called  a  SEQUENCE,  which  is  of  a 
rhythmic,  or  a  melodic,  or  a  harmonic  nature,  or  of  all  three  combined. 
Here  follows  an  example  in  which  all  these  three  natures  are  united. 


BEETHOVEN. 


106. 


In  the  above  example,  the  figure  marked  |  a  is  immediately 
repeated  twice,  the  same  melodic  and  harmonic  progression  being 
transposed  each  time  one  degree  higher.  Such  Sequences  most  gener- 
ally occur  enriched  with  ornamentation,  figuration,  etc.,  as  in  the 
following  example,  which  shows  how  BEETHOVEX  treats  the  above 
Sequence  in  the  last  repetition: 


88 


THE   ELEMENTS  OF  MUSICAL  FORM. 


BEETHOVEN. 


107. 


k.a.SL?" 


etc. 


11O.  A.S  a  rule,  repetition  in  sequence-form  should  be  used  with 
great  moderation,  as  excess  in  this  point  induces  monotony  and 
betrays  poverty  of  ideas. 


TWELFTH    EXERCISE    (1). 

(a)  Point  out,  in  such  instrumental  ivories  as  BEETHOVEN'S, 
MOZART'S,  and  HAYDN'S  Sonatas,  Symphonies,  etc.,  developments  of 
motives  by  the  various  methods  of  REPETITION  just  explained. 

(b)  Develop  many  ORIGINAL  motives  into  sections  and  phrases  by 
applying  to  them  the  same  methods  of  repetition. 

ALTERATION  OF  INTERVALS. 

111.  Another  means  of  the  elaboration  of  a  motive  is  to  change 
one  or  more  of  its  tonal  relationships,  i.  e.,  intervals,  substituting  a 
larger  denomination  for  a  smaller  one,  and  vice-versa,  a  smaller  for  a 
larger  one.  In  the  former  case,  as  when,  for  instance,  a  motive  is 
repeated  Avith  the  change  of  the  original  Second  into  a  Third,  Fourth, 
etc.,  or  Fourth  into  a  Fifth,  Sixth,  etc.,  as  the  case  may  be,  we  have 
what  we  may  call  INTERVAL-EXPANSION.  The  following  are 
examples : 

BEETHOVEN. 
a.    Prestissimo.  \ 1 


108. 


^ 


3^-=     H — -— — •  f  P— F 


d.    Larghetto. 


DEVELOPMENT  OF  THE   MOTIVE.  89 

CHEBUBINI. 

EC 
etc. 


.  INTEEVAL-CONTRACTION  is,  of  course,  precisely  the  opposite 
of  expansion,  as  illustrated  in  the  following  examples : 


a.          Vivace. 


J.  S.  BACH.  b.    Allegro. 


109. 


etc. 


BEETHOVEN. 


c.    Andante. 


HAYDN. 


o 


etc. 


*    J     _  L 


WEBEB. 


etc. 


etc. 


TWELFTH    EXERCISE    (2). 

(a)  Pom£  o?;#  in  the  works  previously  mentioned  developments  of 
motives  Ity  interval-expansion  and  contraction. 

(b)  Develop  many  original  motives  into  sections  and  phrases  by  the 
same  means. 

RHYTHMIC  DIMINUTION  AND  AUGMENTATION. 

113.  "When  the  notes  of  a  tone-figure  or  a  rhythm,  considered  as  a 
motive,  are  represented  by  smaller  values  than  the  original  ones,  and 
thus  the  number  of  measures  is  reduced,  we  have  what  is  called 
RHYTHMIC  DIMINUTION,  as  in  the  following  examples : 


a.    Presto. 


BEETHOYEX. 


b.    Allegro  qua.fi  presto. 


90 


THE  ELEMENTS  OF  MUSICAL  FORM. 
BEETHOYEN. 


etc. 


114.  The  opposite  of  diminution  is  AUGMENTATION,  which  is 
much  more  frequently  used  for  developing  motives  than  the  former, 
although  both  occur  oftener  in  the  contrapuntal  than  in  the  free  style. 
Here  follow  examples  of  rhythmic  augmentation  in  the  free  style. 


a.    Allegro. 


111.E1HEJ3H 


etc. 


b.    Poco  lento. 


MENDELSSOHN. 


C.    Vivace. 


J.  RAFF. 


m 


REMAKE — That  not  all  the  notes  of  a  tone-figure  or  a  rhythm  are  necessarily 
included  in  augmentation  (and  the  same  is  to  be  said  of  diminution  also),  is  evi- 
dent from  the  first  two  of  the  above  examples,  at  d  and  e,  where  the  notes  have 
the  same  value  as  in  the  original. 


TWELFTH    EXEECISE    (3). 

Develop  motives — new,  or  already  composed  for  previous  exercises — 
into  sections  and  phrases  ly  rhythmical  diminution  and  augmentation. 


DEVELOPMENT  OF  THE  MOTIVE. 


91 


CHAPTER     XIX. 

DEVELOPMENT    OF    THE    MOTIVE    (Continued). 

INVERSION. 

115.  INVERSION  is  applied  to  a  motive  when  the  tone-figures  and 
rhythms  are  set  in  contrary  motion.     Here  a  careful  distinction  must 
be  made  between  notes  of   equal  and   those  of  unequal  value,  and 
between  accented  and  unaccented  metrical  parts  and  members. 

116.  In  the  following  examples  of  simple  tone-figures  of  notes  of 
equal  value, 

a.  aa.  b-  bb. 

As-'Av-/  A  *  «          H."  *  w 


112. 


measures  aa,  bb,  cc,  dd,  show  the  inversion  of  a,  b,  c,  d,  respec- 
tively. It  will  be  noticed  that  by  the  inversion  the  notes  are  for  the 
most  part  differently  accented,  the  original  primary  accent  (marked  A) 
being  exchanged  for  non-accent  (^),  the  secondary  (  ' )  also  for  non- 
accent  (except  in  4-  meter,  as  at  bb),  and  vice-versa,  the  non-accent 

for  either  the  primary  or  the  secondary  accent. 

The  following  examples  illustrate  inversion  of  this  kind  (in  the 
last  two  the  tone-figures  are  inverted  in  the  Octave) : 


113. 


F.  SCHUBERT. 


etc. 


HAYDN. 


BEETHOVEN. 


c. 


«)    TL  '        m      ^™-  i  .-.  m 

g^|^gE^EEp^^lE=^=^=B^E^FF 

^*^      —  etc.  -+  •*•       *^    •*•  etc. 


Also  the  passage-like  place  in  BEETHOVEN'S  Sonata,  Op.  26, 


THE   ELEMENTS   OF  MUSICAL  FOEM. 


BEETHOVEN. 


114. 


etc. 


is,  from  the  second  half  of    the    sixth    measure  on,  repeated    in 
inversion : 


I^^^H      ;    i    I    • 

-__• -I 1— F-| *- Q0 B fm "- 

•I      !    i    '  T  H  etc. 


117.  In  cases  of  tone-figures  composed  of  notes  of  unequal  value, 
an  exact  inversion,  both  rhythmic  and  tonal,  would  give  results  like 
the  following : 


a. 


aa. 


b. 


bb. 


116. 


-2-rf- 


3££ 


Here  the  rhythmic  motive,  as  such,  is  changed,  and  (especially  at 
bb  and  cc)  entirely  distorted.  And  even  though  figures  like  these 
inversions  are  under  certain  circumstances  admissible,  yet  they  resem- 
ble the  original  motives  so  little  as  to  seem  rather  to  be  new  ones.  If, 
therefore,  the  original  motive  is  to  be  recognizable  in  the  inversion, 
this  can  be  effected  only  by  the  retention  of  the  characteristic  rliytlim 
unaltered,  applying  the  principle  of  inversion  to  the  tones  only,  as  in 
the  following  examples,  in  which  the  inversions — marked  aa,  bb,  CC, 
dd — should  be  respectively  compared  with  the  inversions  similarly 
marked  in  Fijr.  116. 


117. 


DEVELOPMENT  OF  THE  MOTIVE. 
cc. 


dd. 


:fc= 


^ 


^^^ 


Here  follow  illustrations  of  rhythms  inverted  in  this  manner : 


118. 


F.  SCHUBEBT.  b. 

jfc 


C.    Andante. 


etc. 


d.    Andante. 


HAYDN.  e. 


KUKKEL. 


etc. 


u  y     LJ*^ 

I  I 


118.  The  exact — at  once  rhythmical  and  tonal — inversion  of  tone- 
figures  as  motives,  exemplified  in  Fig.  116,  is  called  EETROGRADE 
INVERSIOX,  as  distinct  from  the  kind  last  illustrated,  which  is  simply 
inversion,  in  a  restricted  sense. 

119.  Rhythms  comprising  many    measures  and    heterogeneous 
tone-figures  should  be  constmcted  with  special  care,  if  they  are,  on 
the  one  hand,  to  serve  as  motives  for  retrograde  inversion,  and,  on  the 
other  hand,  to  be  connected,  when  thus  inverted,  with  their  respective 


94 


THE   ELEMENTS   OF  MUSICAL   FORM. 


original  motives,  and  form  phrases  having  a  musical  sense.  The  fol- 
lowing two  examples  show,  each  at  b,  the  exact  retrograde  inversion 
of  the  corresponding  four-measure  rhythm  at  a : 


120. 


b. 


F.  A.  KUNKEL. 


THIRTEENTH    EXERCISE. 

Compose  sections,  phrases,  and  periods,  by  the  inversion  of  motives 
in  both  the  ways  just  explained. 

CONTRAPUNTAL  TREATMENT. 

12O.  An  additional  means  of  developing  a  motive  is  CONTRA- 
PUNTAL TREATMENT.  Thus,  for  example,  the  motive  of  BEETHOVEN'S 
B  t?-major  Sonata,  Op.  106, 


Allegro. 


BKETHOVEK. 


121- 


--  .  -  T--  —    _    -   —  —      - 


.  -- 


is  worked  up.  in  the  development-group,  into  a  kind  of  free  canon  : 


DEVELOPMENT   OF   THE   MOTIVE. 


95 


122. 


BEETHOVEN. 


'-fr—r — * — r 

*V     I -==F 


etc. 


So,  too,  in  the  c-minor  Symphony  of  the  same  master,  the  princi 
pal  subject  of  the  last  movement  (Allegro), 


Allegro. 


BEETHOVEN. 


123. 


1 r 


h » H • H Ll- 


etc. 


is  worked  up  in  canonical  imitation,  thus : 

Presto. 


124. 


ff 


5 


*  •*•  * 

a 


BEETHOVEN. 


1 


etc. 


^-. 


etc. 


96 


THE   ELEMENTS  OF  MUSICAL  FORM. 


CHAPTER    XX. 

DEVELOPMENT    OF    THE    MOTIVE    (Concluded). 
VARIATION. 

.  Tone-figures  and  rhythms  are  often  developed  by  VARIA- 
TION, the  usual  way  being  to  represent  notes  of  greater  value  by 
figures  of  two  or  more  notes,  yet  so  that  the  original  motive  may  be 
recognizable.  The  variation  may  be  restricted  to  single  parts  (mem- 
bers) of  the  motive, — as  represented  by  the  bracket  in  the  following 
example  : 


Allegro  moderate. 


Variation. 


125. 


or,  it  may  extend  to  the  entire  motive,  examples  of  which  may  be 
found  in  any  "  Theme  with  Variations."  In  pieces  in  larger  instru- 
mental form  also  are  sometimes  found  variations  of  this  kind,  as,  for 
example : 


126. 


Var. 


etc. 


BEETHOVEN. 


etc. 


DEVELOPMENT   OF   THE   MOTIVE. 


97 


.  The  dividing  a  metrical  part  into  its  members — which  we 
may  call  ARTICULATION — inducing  tone-multiplication,  and  the  oppo- 
site process  of  reducing  the  number  of  tones  by  contracting  metrical 
parts  or  occasionally  omitting  one,  also  come  under  -the  head  of  Varia- 
tion. Here  follow  examples  of  each  : 


Andante. 


127. 


! — 1  r~ 


BEETHOVEN. 


etc. 


(In  the  above  figure  the  bracket  indicates  the  articulation  of  the  correspond- 
ing notes  on  the  upper  staff.) 

BEETHOVEN. 

_^^H^MK__ 

Allegro. 


(The  bracket  in  the  above  figure  marks  the  omission  of  the  anacrusis  with 
which  the  first  of  these  two  dimeters  begins.) 


FOURTEENTH    EXEECISE    (1). 
Develop  motives  by  means  of  VARIATION,  etc. 

DISMEMBERMENT  AND  ENLARGEMENT. 

123.  Larger  motives  may  be  dismembered,  L  e.,  reduced  to  smaller 
ones  by  detaching  from  the  original  rhythm  one  or  more  tone-figures, 
or  notes,   belonging  to  it.      These   detached   tone-figures  serve  as 
motive-members  for  further  developing  a  melody.     They  are  taken 
indifferently  from  either  the  beginning  or   the  end  of  the  original 
motive. 

124.  By  an  opposite  procedure,  sJiorfer  motives  may  be  combined 
with  other  motives  to  form  larger  ones.     Thus  (to  illustrate  this  latter 
procedure  first),  the  1st  movement  of  BEETHOVEN'S  Seventh  Symphony 
is  based  on  this  short  principal  motive,  £f     f  *  ,  which  appears  in 
manifold  combinations,  as,  for  instance, 


98 


THE   ELEMENTS  OF   MUSICAL  FORM. 


129. 


BEETHOVEN. 


-7       7  •-— •« 


-i-S~S — ••  v — ^-^ — i 

_.ij_5=r^=. 1 


etc. 


So  too,  in  the  same  master's  c-minor  Symphony  (No.  5),  the  short 
motive  J  j  j  |  J  ,  which  predominates  throughout  the  entire  first 
movement,  appears  in  the  following  enlarged  form,  among  others : 


BEETHOVEN. 


—±~—tt   etc 


.  The  reduction  of  larger  motives  to  smaller  ones  is  illustrated 
in  the  following  examples : 


a.    Allegro. 


131. 


BEETHOVEN. 


b.    Allegro. 


BEETHOVEN. 


etc. 


In  the  same  way,  in  BEETHOVEN'S  c-minor  Symphony,  1st  movement, 
from  the  motive  enlarged  from  the  principal  motive  (see  Fig.  130, 
above)  two  half-notes  are  detached,  and  serve  for  development  through 
several  measures : 


DEVELOPMENT   OF  THE   MOTIVE. 


99 


132. 


etc. 


Moreover,  the  small  tone-figure  f        f  ,  occurring  in  the  same  move- 


4*0 


ment,  is  merely  a  reduction  of  the  already  short  chief  motive 

In  the  Sonata,  Op.  106,  BEETHOVEN  uses  for  development  the 
principal  theme, 


Allegro. 


133.  PffcfP 


in  the  abridged  form  of  only  three  tones, 


134. 


etc. 


afterwards  the  first  two  tones  alone  appear : 


d= 


BEETHOVEN. 


135. 


|=  pis — gl — -S — 


4^ 


-b>— 


^fc 


£ 


etc. 


* 


T 


The  first  part  of  the  Minuet  of  HAYDN'S  .6-flat  Symphony  (No. 
5),  is  developed  from  the  first  two  measures : 


Allegretto. 


HAYDN. 


136. 


H?"o — f'*T~T~        •         •      i -ft —      — f~ 

^_^:_! —  — 1_^ f f — {—» — »-  JM- 

t— 4- — — ^ — 4—f- 1 1 — + — i — '-(- 

±* ^ J._^ 1 L_J 


etc. 


zlfel-4 *  1  £  f f. t   i  " 

/    ^  l~* 


100  THE   ELEMENTS   OF  MUSICAL  FORM. 

HAYDN  dismembers  this  rhythm  into  the  following  motives  : 


a. 


b. 


d. 


137. 


and  combines  these  fragments  into  an  organic  whole. 

Many  more  examples  might  be  cited,  showing  how  the  disintegra- 
tion of  a  rhythm  or  tone-figure  may  furnish  ample  material  for  the 
elaboration  of  musical  thoughts. 

FOURTEENTH    EXERCISE    (2). 

(a)  Dismember  larger  motives  into  smaller  ones. 

(b)  Combine  detached  motives  ivith  other  motives  to  form  larger 
ones. 

THE  PASSAGE. 

126.  A  final  means  of  development  is  the  PASSAGE,  which  is  a 
rapid  tone-series,  passing  by  degrees  or  by  skip  through  optional 
intervals,  ascending  or  descending,  and  for  the  most  part  repeating  a 
determinate  figure.  Thus,  in  BEETHOVEN'S  6r-major  Sonata,  Op.  31, 
which  begins  as  follows : 


Allegro  vivace. 


138. 


the  motive  in  the  second  measure  is  afterwards  worked  up  into  the 
following  Passage : 


139. 


-i— -~^-^--H  i  i  i   -"•"*agt— h-i-'v-rY 
-#•  R  ~*"*"5:  *— *— ' 


DEVELOPMENT   OF  THE   MOTIVE. 


101 


BEETHOVEN. 


— * —   etc. 


In  the  above,  the  first  measure  (formed  by  transposition  from  the 
2d  measure  in  Fig.  138)  is  the  rhythmic  and  melodic  model  for  the 
second  measure,  which  latter  has  thus  the  character  of  sequence  (see 
Par.  109).  The  third  measure  is  the  literal  repetition  of  the  first, 
the  fourth  that  of  the  second,  each  an  Octave  lower,  so  that  the  same 
correlation  of  model  and  sequence  is  kept  up ;  and  the  same  is  to  be 
said  of  the  fifth  and  sixth  measures  respectively.  In  the  seventh 
measure  the  motive-member  is  inverted,  with  partial  interval-contrac- 
tion. In  the  eighth  measure — first  half — is  the  transposition  of  the 
first  half  of  the  seventh  measure ;  the  second  half  is  a  transposition, 
with  interval-expansion,  of  the  first  half.  The  ninth  measure  is  the 
transposition  an  Octave  higher  of  the  seventh  measure.  The  tenth 
measure,  finally,  introduces  a  new  tone-figure,  extended  by  transposi- 
tion and  inversion  through  five  measures,  whereupon  a  point  of  rest, 
but  no  Cadence,  ensues.  This  whole  passage  accordingly  belongs  to 
none  of  the  fixed  rhythmical  forms  hitherto  described. 

BEETHOVEN'S  Sonata  in  /-minor,  Op.  57,  affords  an  additional 
example  of  a  passage,  formed  on  the  motive  inclosed  in  a  bracket,  in 
the  following  figure : 


Allegro. 


140. 


102 


THE   ELEMENTS   OF   MUSICAL   FORM. 


^3 


127.  The  frequent  introduction  of  the  Passage  is  not  to  be  recom- 
mended, as  inducing  monotony  and  betraying  poverty  of  ideas. 

FOURTEENTH    EXERCISE    (3). 
Develop  tone-figures  into  passages,  after  the  above  models. 


SECOND     PART. 
APPLICATIONS  OF  THE  PRIMARY  FORM/ 


FIRST    DIVISION. 
COMPOSITE    PRIMARY   FORMS. 


CHAPTER    XXI. 

THE    THEME    WITH    VARIATIONS.— THE    STUDY    (ETUDE). 

128.  Groupings  of  musical  thoughts  in  primary  form,  constitut- 
ing independent  pieces  of  music  or  independent  portions  of  larger 
pieces,  give  rise  to  the   COMPOSITE  PKIMARY  FORMS.     These  rule 
almost  without  exception  the  boundless  domain  of  dance-music  proper 
(i.  e.,  composed  for  actual  dancing),  and  of  the  higher  and  lower  orders 
of  parlor-music  and  pastime-music.     In  the  Symphony,  the  Scherzo 
(Minuet,  Episode,  Intermezzo)  belongs  almost  always  to  these  forms, 
which  are  frequently  met  with  also  in  other  domains  of  composition. 

129.  The  simplest  form  of  combination  of  independent  musical 
thoughts  is  found  in  the  THEME  WITH  VARIATIONS.     Here  the  same 
thought  is  first  presented  in  simple  form,  then  repeated  in  different 
variations,  which,  while  retaining  the  same  harmonic  basis,  develop 
various  figural  motives,  contrapuntal  imitations,  etc.,  sometimes  also 
change  the  mode,  or  even  the  key.     The  Theme  has  generally  primary 
form,  sometimes  period-form. 

BEETHOVEN'S  creations  in  this  form,  and  those  of  other  masters, 
old  and  new,  are  well  known.    The  last  movement  of  the  Sinfonia 

*  In  all  the  following  exercises  the  student  should,  when  it  is  practicable, 
make  use  of  his  former  exercises. 


104 


APPLICATIONS   OF   THE    PRIMARY    FORM. 


Eroica  belongs  to  this  form,  which  also  is  predominant  in  the  last 
movement  of  the  Ninth  Symphony.  The  extreme  limits  of  the  form 
are  indicated  by  BACH'S  "Air  with  SO  Variations"  BEETHOVEN'S 
Variations  on  a  Waltz  by  DIABELLI,  and  his  32  Variations  on  a  theme 
in  c-minor.  As  a  specially  popular,  charming,  and  noteworthy  work 
of  this  class,  the  Andante  in  C-major, 


141.  bfcr*= 


of  HAYDN'S  (2-major  symphony  may  be  mentioned. 

How  BEETHOVEN  has  constructed  out  of  the  period  given  in 
Fig.  32,  a  theme  in  primary  form,  and  composed  variations  on  it, 
may  be  seen  in  .the  KREUTZER  Sonata,  Op.  47. 

The  Variations  in  RAFF'S  (/-minor  Suite  for  Piano  may  be  classed 
as  models ;  so  also,  in  the  sense  of  the  noblest  virtuosity,  LISZT'S 
Variations  in  the  Don  Giovanni  Fantasia  on  the  celebrated  theme, 


142. 


130.  The  ETUDE  or  STUDY  is  in  a  certain  sense  a  variation  ivith- 
out  theme ;  i.  c.,  its  basis  is  the  general  scheme  of  a  primary  form, 
rather  than  a  particular  theme.    It  consists  essentially  of  the  mani- 
fold variation  of  a  motive  designed  for  technical  practice.    The  more 
connected  it  appears  in  this  respect,  and  the  more  strictly  the  unity 
of  the  piece  is  hereby  maintained,  the  greater  the  freedom  in  which  it 
can  indulge  in  the  structure  of  its  groups  and  in  modulation. 

131.  Many  Etudes  exceed  the  limits  of  the  primary  form,  as,  for 
example,  CHOPIN'S  charming  e-minor  Etude, 


which  lias  a  Trio  with  an  eutirelv  different  chief  motive. 


THE   DANCE-FORMS   PROPER. 


105 


Piti  lento. 


144. 


In  this  and  similar  Etudes  technic  is  subordinated  to  the  esthetical 
principle  of  delivery,  which  in  the  case  before  us  requires  a  contrast 
to  the  airy  lightness  of  the  first  part,  and  finds  it  in  the  Trio. 

132.  Just  as  there  are  many  studies  which,  in  no  wise  intended 
for  technical  practice,  are  (like  the  above-quoted  and  many  others  by 
CHOPIN  and  others)  wrought  into  charming  pieces  of  music ;  so,  too, 
many  a  piece  of  music  receives  the  name  of  Etude  without  having 
been  originally  written  for  the  purpose  of  the  Etude,  merely  because 
it  has  technically  adopted  its  form,  and  the  modesty  of  its  author 
conceals  its  higher  aim. 


CHAPTER    XXII. 

THE     DANCE-FORMS     PROPER. 

133.  The  chief  forms  of  the  SOCIETY-DANCE  are  based  upon  a 
^-measure  step,,  which  involves  a  complete  rotation  and  at  the  same 
time  a  motion  forwards  of  the  body.     Each  single  measure  serves  for 
only  a  half-rotation  of  the  body.     After  two  measures,  therefore,  the 
dancer  begins  again  with  the  same  foot..     Hence  it  is  altogether  unal- 
lowable to  introduce  in  one  of  these  dances  phrases  or  periods  with  an 
uneven  number  of  measures,  as,  trimeters,  pentameters,  heptameters, 
etc.     Even  such  groups  of  6  or  12  measures  as  are  not  strictly  based 
on  two-part  division,  may  easily  cause  disturbance  in  dancing.     The 
periods  should  therefore,  as  a  rule,  be  limited  to  4,  8,  16  measures. 
Occasionally,  however,  the  most  prominent  composers  of  this  kind  of 
music  indulge,  by  way  of    exception,  in    10,   12,    20,    24-measure 
periods  and  similar  constructions. 

134.  The  usual  form  of  the  POLKA  is  the  following: 

(1)  Short  Introduction  in  Polka-tempo,  mostly  2  or  4  measures. 


106 


APPLICATIONS   OF   THE    PRIMARY    FORM. 


This  does  not  form  part  of  the  dance,  and  therefore  need  not  be 
regularly  constructed. 

(2)  Polka,     Large  two-part  primary  form,  each   part  repeated  ; 
thus,  2x||:16:||. 

(3)  Trio.     Similarly  constructed,  often  introduced  by  a  short, 
merely  rhythmical  prelude  of  two  or  four  measures,  as, 

«M  <M  ,M  js  •?  II 

This  little  prelude  does  not  interrupt  the  dance. 

(4)  Repetition  of  the  Polka  with  Coda  (Appendix),  which  gener- 
ally embraces  8  measures  or  somewhat  more,  and  shows  evident  signs 
of  a  close.     The  Coda  in  not  part  of  the  dance. 

135.  The  rhythm  of  the  Polka  is  based  on  the  combination  of  the 
following  1-measure  motives : 


*  •?  f 

" 


i  i rn  rn  ^ 


r 


r  r  r 


Upon  these  the  melody  is  built  up.* 

In  the  piano-forte  Polka  the  left  hand  keeps  up  the  rhythm  of  the 
dance,  playing  the  bass  and  the  chord  following  it,  or  sounding  with  it 
(as  above  illustrated),  while  the  right  hand  sustains  the  melody.  The 
orchestration  of  dance-music  belongs  to  the  theory  of  instrumentation. 

136.  Most  analogous  to  the   Polka  is  the  common   MILITARY 
MARCH,  which,  however,  is  written  in  alla-breve  meter,  (^,  has  there- 
fore quarter-notes  instead  of  the  eighths  of  the  polka-rhythm. 

137.  The  GALOP  has  the  same  form  as  the  Polka,  but  is  a  quick 
%   meter,  with  but  one  beat  to  the  measure ;  thus,  1  |  1  |  1  |  ,  etc., 
whereas  the  polka  has  1 — 2  \  1—2  |  ,  etc.     The  Galop  is  often  com- 
posed in  large  three-part  primary  form. 

138.  The  POLKA  MAZURKA  is  a  slow  4-  meter,  which  likes  to 
accentuate  piquantly  the  weak  metrical  parts,  and  is  partial  also  to 
dotted  rhythms.     Its  principal  form  is: 

(1)  Introduction  :  few  measures  in  the  Mazurka  tempo. 

(2)  Mazurka.     Large  three-part  primary  form  ;  first  part,  second 


*  At  concert-performances  dances  are  rhythmically  shaded,  i.  e.,  the  tempo 
is  frequently  changed,  sometimes  in  the  most  arbitrary  manner.  To  this  the  indi- 
cations of  change  of  tempo  refer  in  the  scores  of  some  dance-composers. 


THE   DANCE-FORMS   PROPER.  107 

part,  repetition  of  the  first  part,  each   time   16  measures  without 
repetitions. 

(3)  Trio.     Large  three-part  primary  form ;  also  with  abbreviated 
(8-measure)  second  part. 

(4)  Repetition  of  the  Mazurka,  and  short  Coda. 

139.  The  Trio,  in  almost  all  of  these  dances,  is  in  a  key  other  than 
that  of  the  principal  movement,  mostly  in  that  of  the  Subdominant. 
Minor  keys  are  only  exceptionally  admissible  for  actual  dances,  as,  for 
instance,  for  the  purpose  of  humoristic  treatment ;  here  they  should 
be  entirely  omitted. 

140.  The  most  peculiar  and  prominent  form  of  the  society-dance 
proper  is  the  WALTZ.     This  is  a  quick  -?-  meter,  in  which  each  meas- 
ure has  but  one  beat.     The  form  of  the  Waltz  is  entirely  different 
from  that  of  the  other  dances.     Its  composition  requires,  in  a  higher 
degree  than  that  of  the  other  dance-forms,  a  special  talent  for  the 
melodies  of  the  dance.     Its  most  usual  form  is  the  following: 

(1)  Introduction,  mostly  consisting  of  matter  entirely  foreign  to 
the  dance,  often  Adagio,  Fantasia  with  prominent  parts  for  solo- 
instruments,  leads  to  the 

(2)  Short  "Entrance"  in  the  waltz-tempo,  4  measures,  leading 
directly  into  the 

(3)  Waltz.     5  numbers,  counted  No.  1 — 5  (sometimes  only  4,  sel- 
dom only  3). 

These  5  numbers,  which  constitute  the  Waltz  proper,  may  be  of 
similar  or  dissimilar  structure.  They  consist,  however,  almost  always 
(for  our  present  exercises  always}  of  two  16-measure  periods,  each  of 
which  is  repeated.  If  they  have  three-part  form,  the  third  part  is 
merely  the  repetition  of  the  first. 

Nevertheless  these  periods  are  mostly  so  constructed  as  not  to 
thematically  correspond  one  with  another  within  one  number,  thus 
constituting  two  periods  in  conjunction  without  any  further  connec- 
tion. The  same  applies  to  the  closes,  which  indeed  seldom  modulate 
far  from  the  principal  key,  yet  are  not  strictly  bound  to  the  Tonic. 
The  key  of  the  separate  numbers  is  of  course  independent. 

(4)  Finale,  instead  of  the  short  Coda  an  elaborate  Finale  in  waltz- 
tempo,  repeating  the  most  successful  numbers  of  the  Waltz,  often 
(Potpourri)  introducing  a  new  one. 

141.  It  is  to  be  observed,  moreover,  that  rhythmical  variety  finds 
the  widest  range  in  the  waltz-melody,  and  that  whilst  the  bass  and 
middle  voices  constantly  sustain  the  dance-rhythm,  the  melody  soars 
above  it  with  the  most  unrestrained  freedom. 


108 


APPLICATIONS   OF  THE   PRIMARY   FORM. 


142.  Harmonic  effects  are,  however,  here  as  in  all  dances  to  be 
applied  very  sparingly,  as  they  too  easily  distract  the  attention  from 
the  proper  aim  of  dance-music. 

Examples  are  so  numerous  that  it  is  not  necessary  to  call  attention 
nere  to  special  ones. 

FIFTEENTH    EXERCISE. 

Compose,  in  the  principal  forms  just  described,  dances,  especially 
Waltzes. 

Compose  to  the  following  basses  various  dances,  after  transposing  the 
basses  into  another  key  and  indicating  the  proper  meter  by  its  sig- 
nature. 

THREE-PART  PRIMARY  FORM. 

No.  1.     First  Part.    I. 


145. 


Second  Part.    n. 


m 


.0 — 0. 


*  «          *  « 

Third  Part.    III.— (Like  the  first,  varied  at  pleasure.) 
Trio.     I- 


^m 


m 


ra.=  i. 


ft     ft 


No.  2.     I. 


n. 


ra.=  i. 


pi 

0 LMIZ  L I  1  |T^^»      \-F-JL^  I L         I— ^ — JL 


$6        7 


6         6         ft 

4        7 


ft6        7 


6        ft 
4        7 


THE   DA^CE-FORMS    PROPER. 


109 


Trio.    I. 


m 


n. 


b      b 


b      b      b      b7 


b      b 


b      b     b7 


No.  3. 


TWO-PABT  PRIMARY  FORM. 


EEgPfE 

0-LrJ-»-L» 


=S 


pv« 

L  

1 

^^-  0  — 

ji    \ 

—0  — 

-0  — 

—f  — 

-f  — 

—  f  — 

-f  — 

-r- 

~*-0 

\ 

n 

1 

< 

i 

$ 

$ 

* 

Trio. 

^:  [-*- 



• 

* 

-0- 

[•*- 

•*- 

-• 

-*— 

- 

• 
-* 

-*- 

-*— 

-*= 

^ 

The  determinate  arrangement  of  the  measures — whether,  for  ex- 
ample, the  initial  measure  shall  be  complete  or  incomplete,  etc.,  as  also 
of  course  the  rhythm,  which  here  constitutes  the  proper  subject-mat- 
ter of  the  exercise,  are  left  to  the  judgment  of  the  composer.  It  is 
also  free  to  him  to  replace  at  pleasure  the  fundamental  basses  here 
given  by  the  corresponding  derivative  basses,  or  to  substitute  for  them 
other  basses  from  the  works  of  favorite  composers. 


110 


APPLICATIONS   OF  THE   PRIMARY   FORM. 


CHAPTER    XXIII. 

THE    MARCH-FORMS. 

143.  In  the  MARCH,  and  the  related  forms  of  the  POLOXAISE  and 
the  QUADRILLE,  there  is  no  rotation  of  the  body,  consequently  no 
two-measure  step  proper. 

We  have  already  spoken  of  the  MILITARY  MARCH  in  connection 
with  the  Polka;  it  is  in  a  certain  sense  the  lowest  form  of  the  march. 

144.  The  FESTFVAL  MARCH  is  in  \  meter.     To  every  measure 
there  are  two  measured  steps  of  the  marchers,  but  four  or  two  beats 
of  the  baton.    That  the  measures  should  be  grouped  in  even  numbers 
is  not  unconditionally  necessary  here.     The  celebrated  March  in  MEY- 
ERBEER'S "  Prophvte  "  begins  even  with  a,  pentameter. 


146. 


145.  The  March,  No.  22,  in  " Le  Nozze  di  Figaro"  exhibits  an 
original  construction  in  the  evidently  intentional  monotony  of  the 
group-closes,  which  are  nearly  all  in  G.  In  the  very  first  five  meas- 
ures of  the  melody  G  predominates,  the  first  8-measure  group  closes 
in  f/-major,  hereupon  follows  a  group  of  two  trimeters,  both  of  which 
also  close  in  G.  The  first  part  thus  embraces  14  measures,  and  is  re- 
peated. The  second  part  corresponds  on  the  whole  to  the  first,  the 
thesis  again  closes  in  G,  the  antithesis,  in  the  same  kind  of  hexameter 
(double  trimeter)  as  at  the  close  of  the  first  part,  turns  to  the  Tonic. 
Hereupon  follows  a  Coda  of  4  measures,  forming  a  short  close  in  the 
tones  of  the  tonic  harmonv. 


147. 


r-i—  '-yr-'-rf  —  ?~'f*  -  * 


frf  -  T'J*'*  —  *~T 


£2 T~ 

--•?-—  r -'-'  F 


THE   MARCH-FORMS. 


Ill 


This  March,  which  in  the  opera  has  only  scenic  significance,  yet 
actually  serves  for  marching,  has  no  Trio. 

146.  The  Festival  March  is  not  restricted  to  determinate  rhyth- 
mical figures,  like  the  dances,  but  must,  of  course,  make  the  measured 
step  distinctly  prominent.     Its  most  usual  form  is  the  small  two-part 
primary  form  for  March  and  Trio.     Prelude  (often  in  the  form  of  a 
Fanfare),  Entrance  to  the  Trio,  and  Coda,  according  to  circumstances. 

147.  We  add  here  the  construction  of  two  of  the  most  celebrated 
and  admired  march-compositions  of  modern  times,  which  have  already 
served  and  will  still  serve  as  models  for  many  others  :   MENDELSSOHN'S 
"  Wedding  March ''  in  the  "  Midsummernight's  Dream,''  and  WAG- 
NER'S "  Tannhauser "  March,  both  of  which   properly   come   under 
•consideration  here,  as  they  serve  for  actual  marching  (on  the  stage). 

148.  Both   compositions   begin   with   an    introductory  trumpet- 
fanfare  : 


MENDELSSOHN. 


148. 


112 


APPLICATIONS   OF   THE    PRIMARY   FORM. 


149. 


WAGNER. 


In  MENDELSSOHN'S  March  this  Introduction  leads  at  once  into  the 
Theme,  which  is  based  on  the  celebrated  harmonic  progression : 


150. 


WAGNER'S  Introduction,  which  by  its  transition  to  the  Dominant 
has  the  character  of  a  Thesis,  does  not  lead  directly  into  the  theme, 
but  is  repeated,  interrupted  by  allusions  to  later  motives  of  the  March, 
three  times — only  at  the  third  time  leading  into  the  theme,  with  an 
interpolated  transitional  passage : 


151. 


WAGNER'S  Introduction  accordingly  shows  23>~ '  measures  against 
4  in  that  of  MENDELSSOHN. 

149.  MENDELSSOHN  constructs  his  Theme  in  small  three-part 
primary  form : 

First  Part :      2x4  =  8,  repeated,  =  16  measures. 

Second  Part : 

Thesis :  8 

Antithesis :       2x4  =  8 

together  16,  repeated,  =  32  measures 
together  48  measures. 

But  MENDELSSOHN  includes  in  the  repetition  of  the  first  period 
the  4-mcusure  Introduction,  whereby  the  first  part  amounts  to  20 

measures. 


THE   MARCH-FORMS. 


113 


So  far,  then,  the  length  of  the  whole,  including  the  Introduction 
itself,  amounts  to  56  measures. 


First  Part. 


,  _  _ 

152. 


Im.  Cad. 


Here  interpolation  of  the 
Introduction. 


Per.  Cad. 


Second  Part. 


I  V 


MENDELSSOHN. 


Third  Part. 
Measures  1—8. 


Auth.  Cad.  in  Dom. 


From  here  on  MENDELSSOHN'S  March  is  kept  more  within  the 
limits  of  the  composite  primary  forms  already  discussed,  whilst  WAG- 
NER'S March  approaches  in  construction  the  large  symphonic  instru- 
mental forms  to  be  considered  later. 

MENDELSSOHN,  that  is  to  say,  now  introduces  a  Trio  in  (r-major : 


153. 


?     f  " 

e^_ M-*-^-^=  -?=£  o=  -^=A±L=^ 
g^=j=|£gil:t=r=b-- r-^ £j=t=E 


leading  to  a  repetition  of  the  principal  theme,  which  is  this   time 
abbreviated  to  an  8-measure  period. 

Then  follows  a  second  Trio  in  J^-major : 


114 


APPLICATIONS   OF  THE   PRIMARY   FORM. 


154. 


after  which  the  whole   Theme   without  repetition,  with   increased 
rhythmical  movement  by  means  of  figuration : 


155. 


the  Introduction  with  increased  sonority : 


156. 


lastly,  a  brilliant  CWrr  of  2  x  8  +  10  ^  measures. 

In  all  the  parts,  except  the  first,  the  composer  avoids  perfect  ca- 
dences. This  gives  to  the  March  that  character  of  constantly  pressing 
forward,  with  the  esthetic  effect  of  suspense,  which  WEBER  especially, 
among  the  older  masters,  so  well  knew  how  to  attain  in  his  overtures. 

15O.  WAGXER  constructs  his  Theme  not  in  primary  form  but  as 
a  large  IG-measure  period  : 


157. 


THE   MARCH-FORMS. 


115 


and  immediately  joins  to  it  another  theme  in  the  same  key,  likewise 
in  16-measure  period  form: 


158. 


Here  the  Thesis  makes  a  Half-cadence  on  the  Dominant  septima- 
cliord : 


159. 


FE5ES=^E5=9= 

*— r— i — F- -r 


VI 


the  Antithesis  an  authentic  cadence  in  the  key  of  the  Dominant,  modu- 
lating into  it : 

y« — f->- 


160. 


*— * •—^•— 

F— *— T=S— g 


I  VI 

Tonic. 


II  I 

Dominant. 


116 


APPLICATIONS   OF   THE    PRIMARY    FORM. 


Another  16-measure  division  now  follows,  showing,  however,  the 
form  not  so  much  of  a  period  as  of  a  double-phrase,  since  the  second 
part  (which  takes  the  place  of  the  Antithesis)  ends  with  a  Half- 
cadence.  In  the  bold  modulation  of  this  phrase  this  Half-cadence  is. 
made  in  C^-major. 


Per.  auth.  Cad.  in  Dom. 


We  have  now  already  three  16-measure  periods,  the  first  forming  a 
tonic  period,  the  second  a  period  which  modulates  into  the  Dominant, 
the  third  consisting  of  two  corresponding  phrases,  which,  starting 
from  the  Tonic,  modulate,  the  first  into  the  Dominant,  the  second 
into  the  key  situated  a  major  Fifth  above  this  Dominant. 

Xow  again  begins  a  new  division— of  which  there  are  foreshadow- 
ing in  the  Introduction— begins,  in  fact,  immediately  with  the  minor 
SnMominant  of  the  key  in  whose  Dominant  the  preceding  division 
closed  : 


THE   MARCH-FORMS. 


117 


r 
162. 


The  harmony  with  which  this  division  begins  is  to  be  taken  as 
Tonic  /jf-minor.  The  Thesis  closes  with  an  imperfect  authentic  ca- 
dence in  J^-major,  and  just  as  the  6r$-major  Triad  above  was  followed 
by  the  minor  Triad  on  /$,  so  here  the  major  Triad  on  F§  is  followed 
by  the  minor  Triad  on  e. 


163. 


The  Antithesis  now  passes  in  the  fifth  measure  to  the  Dominant 
of  the  principal  key,  whereupon  the  introductory  trumpet-fanfare  is 
again  heard  ;  thus  this  Antithesis  embraces  12  measures  =  4  +  8. 

Now  begins  with  the  principal  theme  the  repetition  of  all  that  has 
been  had,  with  accompaniment  of  the  Chorus. 

To  this  entire  repetition,  comprising  68  measures,  is  again  joined 
the  principal  theme  in  fortissimo  and  with  enlivened  rhythm  by  means 
of  figuration. 


164. 


The  Coda,  which  brings  the  March  to  an  end,  thematically  exhausts 
the  first  and  the  second  theme  and  the  Introduction. 

In  LISZT'S  piano-arrangement  of  this  celebrated  March,  the  tender 
theme  which  in  the  opera  accompanies  the  entrance  of  the  minstrels, 


118 


165. 


APPLICATIONS  OF  THE   PRIMARY   FORM. 

tr. 


a? 


-3-^ff ,2- 


-K 


^ 


forms  the  Trio  proper  of  the  March.  It  is,  however,  not  a  part  of  the 
March  in  the  original,  which  we  follow.  We  regard  WAGNER'S  March, 
in  fact,  as  a  March  with  many  parts  (independent  themes)  but  ivithout 
Trio. 

151.  The  two  Marches  here  considered  have  this  in  common  that 
the  beginning  of  the  principal  theme  forms  a  complete  cadence  (thus  a 
closing  formula).*    The  principal  theme  of  MENDELSSOHN'S  March, 
in  particular,  must  be  considered  strikingly  bold  and  original,  be- 
ginning, as  it  does,  with  harmonies  foreign  to  the  key.  f 

152.  We  will  now  place  side  by  side  the  respective  schemes  of 
both  Marches : 


*  In  MENDELSSOHN'S  March : 


tr. 


3E-^=-r    r_rs 

T   r 

f-pg  •  _»_j-p_ 

^»  *-i  

^  U  :  n°7        (V)                   i 
1                                     C1  :  in 

n                 I            V                      I 

166. 


Cadence  in  e. 
In  WAGNER'S  March  : 


Cadence  in  C. 


F*rt- 

167.  [gffcftft- 


-<?- 


=|ES^p:t= 
_!L LJ 


Cadence. 

In  each  of  the  above  cadences  the  Supertonic  Triad  may  be  regarded  as  supplying 
the  place  of  the  Subdominant  Triad. 

f  An  example  of  a  Festival  March  opening,  like  MENDELSSOHN'S  Wedding 
March,  with  harmonies  foreign  to  the  key,  though  not  forming  a  complete  Cadence, 
is  LISZT'S  "  Huldigungs-Marsch,"  in  (7-major.  This  March  opens  abruptly  on  the 
Dominant  septimachord  of  the  key  of  F,  and  that,  too,  in  what  we  may  call  its 
boldest  form.t.  e.,  with  the  Seventh — Bv — in  the  Bass,  which  then  makes  the  bold 
progression  to  F,  instead  of  the  usual  resolution  to  the  degree  below. 


THE    MARCH-FORMS.  119 

MENDELSSOHN,   Wedding-March. 

Introduction,  4  measures.                                                                                   Measwes. 
Principal  Theme :  Small  three-part  primary  form  with  repetitions W 

FlKST   TRIO,  IN   £r-MAJOB. 

First  Part :   extended  phrase-form,  Thesis — Half-cadence  on  the  Dominant. 

6  measures,  repeated ....  13 

Second  Part :  Double-phrase,  .5-major — Cr-rnajor,  imperfect  authentic  cadence, 

2x4  measures,  repeated 16 

Repetition  of  principal  theme  shortened  to  a  period,  without  repetition 8 

SECOND  Tmo,  IN  F-MAJOR. 

First  Part :  Phrase-form,  8  measures 8 

Second  Part :  Phrase-form,  8  measures,  repeated 16 

Transitional  Group :   Thesis — rf-minor,  Half-cadence  on  Dominant,  8  meas- 
ures ;  Antithesis  transitional,  8  measures 16 

Repetition  <>f  principal  theme  :  Small  three-part  primary  form,  3x8 24 

Coda :    Introduction,  4  measures ;    thematic   reminiscence,   8  measures — re- 
peated, 16  measures ;  close,  10  measures 30 

Total,  182 
WAGNER,  Tannhduser- March. 

Measures. 
Introduction:  Entrance,  4;  Middle-group, -^4—;  Entrance,  4;  Mid.-gr.,  ^2  ; 

Mid.-gr.  (fourth  theme),  4  ;  Mid.-gr.,  2—;  Entrance,  4;  Mid.-gr.,  4^.  23— ' 

Principal  Theme :  Tonic  Period 16 

Second  Theme  :  Modulatory  Period 16 

Third  Theme :  Double-Thesis 16 

Fourth  Theme :  Double-phrase  with  transition  (8  +  4)  +  8  measures 20 

Repetition  of  all  four  Themes 68 

Repetition  of  principal  Theme  :   Thesis  as  above  ;  Antithesis  with  delayed 

close 17 

Coda,  8  measures,  beginning  on  the  .B-major  Triad  in  Y   form  ;    second 

theme  ;  8~- ;  Entrance  and  close,  21 36 


Total,  212 

153.  The  FUNERAL  MARCH  has  the  slowest  Largo  as  tempo. 
BEETHOVEN  has,  in  a  pianoforte  Sonata,  furnished  the  unapproach- 
able model  of  it.  (See  Fig.  99).  CHOPIN'S  Funeral  March — only 
second  to  BEETHOVEN'S  in  popularity — is  also  found  in  a  piano-forte 
Sonata.  The  Funeral  March  is — with  few  exceptions  (among  them 
HANDEL'S  Dead-March  in  "  Saul,"  in  (7-major) — in  minor,  the  Trio 
almost  always  in  major,  viz :  in  the  parallel  major  key,  in  the  major 
key  of  the  same  Tonic,  or  in  that  of  the  major  Third  below  (Sub- 
mediant). 


120 


APPLICATIONS    OF   THE    PRIMARY    FORM. 


154.  The    construction   of    BEETHOVEN'S    Funeral    March    in 
^P-minor  has  already  been   given    (Chapter  XVI.).      The  Trio,  in 
^ib-major,  consists  of  two  4-measure  phrases,  which  are  repeated.     The 
repetition  of  the  March  is  followed  by  a  Coda,  closing  in  major. 

155.  The  POLONAISE  is  a  lively  March  in  |  meter,  with  a  step  to 
every  quarter-note.     The  characteristic  figure  of  the  Polonaise  is  this : 


t 


nan 


r     i 


It  is  not  necessary,  however,  that  this  figure  should  be  invariably 
adopted  and  carried  out,  as  is  proved  by  many  examples.  It  is  also 
characteristic  of  the  Polonaise,  that  in  most  cases  the  last  two  meas- 
ures of  its  periods  are  rhythmically  divisible  into  three  measures  of 
•£-  meter,  as,  for  example : 


168. 


IDEALIZED    DANCE-FORMS.  121 

156.  The  QUADRILLE  (CONTREDANSE)  is  likewise  related  to  the 
March,  but  is  written  in  -r-  and  -jj-  meter,  and  has  two  steps  to  each 
measure.  It  has  six  divisions,  separated  one  from  the  other  by 
pauses ;  the  last  passes  immediately  into  a  dance  proper  (round 
dance). 

SIXTEENTH    EXERCISE. 

Compose  Marches  and  Polonaises,  especially  in  the  principal  forms 
which  have  been  given. 


CHAPTER    XXIV. 

IDEALIZED     DANCE-FORMS. 

157.  There  are  countless  compositions  which,  without  being  in- 
tended for  dancing  or  suitable  for  it,  borrow  from  a  given  dance-form, 
mostly  in  great  freedom,  the  rhythmical  motive  and  the  most  general 
characteristics  of  construction.     No  form  has  been  more  productive 
in  this  respect  than  the    Waltz,   whose  idealizations  by  SCHUBERT, 
WEBER  ("Invitation  a  la  valse"),  but  especially  CHOPIN,  are  every- 
where celebrated.     These  charming  creations  combine  all  the  elegan- 
cies of  an  art-technic  developed  to  the  utmost  with  the  dance-rhythm 
employed  with  the  most  perfect  freedom.    Through  CUOPIN  and  many 
others,  who  are  for  the  most  part  his  imitators,  the  form  also  of  the 
Mazurka  and  the  Polonaise  has  experienced  such  an  ideal  development. 
Other  national  dances  too,  such  as  the  Bolero,  the  Tarantella,  etc., 
have  been  treated  in  this  manner.    Of  late  years,  prominent  composers 
have  shown  a  similar  interest  in  the  obsolete  dance-forms  of  past  cen- 
turies, the  Saraband,    Gavotte,  Bourree,  etc.,  etc.     Especially  note- 
worthy are  RAFF'S  labors  in  this  field. 

158.  Our  classical  composers  have  devoted  special  attention  in 
this  sense  to  the  March.    BEETHOVEN'S  Funeral  March  in  the  "  Eroica  " 
symphony,  that  in  the  Jk-sonata,  of  which   mention  has  already  been 
made,  the  Festival  March  in  the  .4 -major  Sonata,  Op.  101 — 


122  APPLICATIONS   OF  THE    PRIMARY    FORM. 

Vivace  alia  marcia. 


169. 


*  .  ftJt 

•*•  -4   *^  '    *^i 


with  the  canonical  Trio,  the  March  in  the  "  Euins  of  Athens,"  etc., 
maybe  assumed  as  well-known.  MOZART'S  "AllaTurca"  from  the 
A  -major  Sonata — 


170. 


s 


—  M 


m 


£££  £££ 

;r — »— r         ^r-T—    — r— r— r- 


is  likewise  an  example  in  point.     A  peculiarity  of  this  piece  is  the 
8-measure  period  which  follows  each  part  as  a  kind  of  Coda. 


171. 


f 

Wfl 


* 


i 1 p- 

— — 1 — 


-0 — * — 0 — 0 
3±t 


n-0 — 0 — • — 

ptE 


f— -* 
Pj 


r^gr 

* 


--*-! p 

«— w — 


IDEALIZED    DANCE-FORMS.  123 

In  CHOPIN'S  Funeral  March  in  Jb-mmor  the  left  hand  has  an  im- 
pressive imitation  of  the  ringing  of  bells,  a  kind  of  "  Basso  ostinato," 
found  also  in  the  3d  Impromptu  and  an  Etude  of  the  same  master. 

159.  But  the  most  important  among  the  idealized  dance-forms  is 
the  form  which  has  sprung  from  the  obsolete  Minuet,  and  which 
under  the  name  MINUET  or  SCHERZO  has  found  an  abiding  place  in 
the  large  instrumental  works  of  our  classics. 

The  form  of  this  movement  is  mostly  large  two-part  or  three-part 
primary  form,  variously  modified  by  means  of  augmentations  and  ab- 
breviations now  of  this  part,  now  of  that,  as  has  been  illustrated  by 
many  examples  in  the  first  part  of  this  work.  The  Trio  is  only  excep- 
tionally in  the  key  of  the  Dominant,  mostly  in  the  same  key,  and  in 
minor  movements,  in  the  major  key  of  the  same  tonic.  In  MOZART'S 
.Z^-major  and  (7-major  symphonies  the  Trio  remains  in  the  same  key; 
in  the  </-minor  symphony  in  the  major  key  of  the  same  tonic.  In 
HAYDN'S  Z>-major  symphony  (No.  1)  the  Trio  is  in  the  key  of  the 
Stibmediant  of  the  minor  key  with  the  same  tonic,  viz:  in  ^-major, 
a  not  unusual  relationship  of  the  parts  in  point  of  modulation.  In 
BEETHOVEN'S  1st,  2d,  Eroica,  4th,  Pastoral,  and  8th  symphonies  the 
Trio  is,  like  that  of  MOZART'S  symphonies  above  alluded  to,  in  the 
same  key  as  the  Scherzo ;  in  the  5th  (c-minor)  and  the  9th,  in  the 
major  key  of  the  same  tonic ;  in  the  7th,  in  the  major  key  of  the  Sub- 
mediant,  i.  e.,  in  Z>-major,  the  Scherzo  being  in  J^-major.  The  7th 
symphony  is  the  only  one  of  BEETHOVEN'S  in  which  the  Scherzo  is 
not  in  the  same  key  as  the  symphony. 

160.  HAYDN'S  symphonies  and  quartets — not  only  the  favorite 
ones  but  also  those  numerous  ones  that  are  less  known — afford  an  in- 
exhaustible assortment  of  consummate  models  of  that  species  which 
approaches  more  nearly  to  the  original  form.     Such  are  to  be  found 
also  in  MOZART'S  instrumental  works,  in  countless  pianoforte-sonatas, 
duos,  trios,  string-quartets  by  BEETHOVEN.     Of  the  symphonies  of  the 
last-named   master  the  Scherzos  of  the  1st,  2d,  4th  and  8th  are  kept 
within  the  same  limits.     We  must  here  call  attention  to  the  manner 
in  which  BEETHOVEN  developed  this  form  in  other  works,  how  he  en- 
larged and  transformed  it  in  the  Scherzo,  by  some  examples  calculated 
to  incite  the  beginner  in  composition  to  a  more  profound  study  of  the 
others  also. 

161.  In  the  7th — A  -major — symphony  the  first  part  of  the  Scherzo 
exhibits  singularity  of  formal  structure  in  the  2-measure  introduction 
alone, 


124 


APPLICATIONS   OF  THE   PRIMARY   FORM. 


172. 


which  thenceforth  constantly  serves  as  connecting-link  of  the  parts. 
It  is  interesting,  from  the  standpoint  of  modulation,  that  the  close  of 
the  first  part  is  made  in  A-major  (key  of  the  symphony),  this  key 
being  in  fact  reached  by  a  sudden  transition  from  .F-major,  by  means 
•of  the  chord  of  the  augmented  Sixth. 


173. 


Bass  in  Octaves. 


The  first  part,  as  a  whole,  consists  of  a  16-measure  period  of  the 
fourth  form  (Par.  27),  whose  antithesis  is  lengthened  by  a  cadence- 
formula  of  six  measures,  while  the  period  itself  is  preceded  by  a 
2 -measure  Introduction. 

On  the  other  hand,  the  second  part  so  far  exceeds  the  usual  limits 
of  our  form  as  almost  to  assume  the  character  of  a  development  (as  in 
the  Sonata-form).  After  four  measures  of  the  introduction-motive 
(Fig.  172),  the  repetition  of  the  motive — 


174 


(compare  Fig.  173) — partly  of  the  whole  of  it,  partly  of  its  2d  measure 
only,  gives  rise  to  an  8-measure  group,  whose  second  motive,  trans- 
posed to  _D-major, 


175. 


etc. 


is  repeated  four  timjs.  whereupon  it  appears  in  c-minor 


IDEALIZED    DANCE-FORMS. 
I 


125 


176. 


etc. 


and  leads,  after  three  measures,  into  the  dominant  harmony  of  6-major. 
Thus,  then,  we  have — excluding  the  Introduction — a  composite  group 
of  8  +  4  +  4  =  16  measures,  modulating  from  ^4-major  to  (7-major. 
This  group  is  now  repeated  in  exactly  the  same  way,  but — this  time 
modulating  from  C-major  to  B^-major.  A  similar  repetition  in 
-#t?-major  now  seems  about  to  take  place,  but  already  in  the  third 
measure  the  introduction-motive  is  added  to  it, — 

Oboe  and  Bassoon  in  8ve. 


177. 


and  leads  to  the  entrance  of  the  first  8-measure  group,  with  repeti- 
tion, which  the  Bass  then  takes  up,  followed  by  the  other  voices  in 
imitation  (the  last  voice  in  contrary  motion),  leading  into  the  third 
part  (repetition  of  the  first). 


178. 


^zzir:^^.^.^.^.^.  -f-    -»-    t 


Beginning. 


etc. 


m 


126 


APPLICATIONS   OF   THE    PRIMARY   FORM. 


The  close  is  made  first  in  (7-major  with  closing  formula  of  8  measures, 
then  with  the  same  formula  extended  to  12  measures,  in  F-major. 
After  this  perfect  close  the  introduction-motive  finally  holds  on  (for 
4  measures)  to  its  upper  note,  a.  During  this  a,  which  enters  tutti  ff, 
and  remains  p  in  the  violins,  the  Trio  in  D-major  begins,  is  regularly 
carried  through  in  enlarged  three-part  primary  form,  with  a  14-meas- 
ure  Coda,  closing  with  the  noted  progression  of  the  dominant  septima- 
chord  of  Z)-major  to  that  of  .F-mjijor : 


Violins . 
Viola. 

179. 

Horn. 
Basses. 


This  chord  leads  back  to  the  Scherzo,  which  is  repeated  entire,  except- 
ing only  the  repetition  of  the  second  part. 

Hereupon  re-entrance  of  the  Trio  with  all  repetitions  and  Coda. 

Second  re-appearance  of  the  Scherzo,  this  time  without  repetitions. 
The  Coda  again  sustains  for  four  measures  the  a  which  introduces  the 
Trio.  But  only  the  first  two  measures  appear,  the  first  in  major,  the 
second  in  minor,  then  short  close  of  five  measures,  presto. 


Presto  meno  awai. 


180. 


Presto  Tut/i. 


IDEALIZED   DANCE-FORMS. 


127 


162.  Still  more  peculiar  is  the  construction  of  the  Scherzo  of  the 
5th  (c'-minor)  symphony.     The  Thesis — 


181. 


-&-         4—      •**- 


is  repeated  with  a  slight  extension.     A  new  theme  then  enters : 

a  tempo. 


182. 


F 


fe= 


etc. 


which,  beginning  in  c-minor,  makes  a  half-cadence  in  .Z^-major,  is 
then  repeated  in  etMninor  with  half-cadence  in  6rb-major;  in  four 
measures  more  it  reaches  the  Dominant  harmony  of  dp-minor  and  here 
constructs  a  half-cadence  formula  of  8  measures.  The  Dominant  of 
dp-minor,  viz :  B\?-major,  now  serves  as  starting-point  for  the  repeti- 
tion of  all  that  has  preceded,  this  time  from  b\>-minor  to  C-major  as 
Dominant  of  f -minor,  instead  of  from  c-minor  to  HP-major  as  Domi- 


1'28 


APPLICATIONS   OF  THE   PRIMARY   FORM. 


riant  of  eb-minor.  The  repetition  of  the  first  thesis  is  this  time 
extended  from  8  to  18  measures,  and  employed  for  modulating  into 
c-minor. 


.•* 


183. 


19- 


£ 


;    Organ-point  follows. 


The  Dominant  of  f-minor,  viz :  (7-major,  now  becomes  again  the 
tonic  c-minor.  The  first  theme  is  repeated,  the  second  half  of  it  is 
repeated  in  passage-form ; 


184. 

I.    /  I       ""'        I  f~  '  '"""  ' 


etc. 


hereupon  a  counterpoint  against  the  principal  motive  of  the  theme,  in 
the  Bass,  is  made  by  a  charming  flowing  melody  in  the  upper  voice, 
which  forms  a  perfect  cadence, — 


185. 


HE  iffi    ?~$ 


IDEALIZED   DANCE-FORMS. 


129 


•  •*••*-•*••*•  h«     •*- 
•f-f-j-  -t-    -fr-    •*•  *§•    *_ 

gg  EjfepgEfe 


i 


this  cadence  being  further  strengthened  by  an  8-measure  Coda.  With 
the  exception  of  these  two  cadences  the  whole  movement  exhibits 
half-cadences. 

The  Trio  is  carried  through  with  less  irregularity ;  it  is  technically 
notable  for  its  fugal  elaboration, — 


K}T 

—  *— 

-^  ••  \ 

g 

9 

i 

-«-* 

;_*-- 

EE 

-|=- 

r~^- 

i  —  r—  '  —  : 

#  — 

-f  ^ 

—  ff 

—  ^  
—  1  ' 

4  ^       ,..          f 

H  —  F 

^T- 

r 

and  the  strong  bass-figure  with  which  the  second  part  begins.  The 
first  part  closes  regularly  in  (r-major,  the  second  in  (7-major.  At  the 
repetition  of  the  latter,  however,  it  changes  the  cresc.  al  ff  of  the  first 
time  into  a  diminuendo  al  pp,  and  leads,  without  a  close,  immediately 
into  the  repetition  of  the  Scherzo.  The  inspection  of  the  continuation 
of  this  fine  movement  is  left  to  the  student,  who  should  follow  up  the 
hints  we  have  given  for  this  kind  of  score-study. 

SEVENTEENTH    EXERCISE. 


Compose  Minuets  and  Scherzos,  but  ivithout  intentionally  exceeding 
tlie  limits  of  the  primary  form. 


130 


APPLICATIONS   OF   THE   PRIMARY   FORM. 


CHAPTER    XXV. 

SPECIAL    FORMS. 

163.  There  is  also  a  large  number  of  characteristic  and  important 
compositions — among  them  many  of  the  most  original  creations — 
which,  without  adhering  to  any  special  dance-form,  belong  to  the  pri- 
mary forms  which  we  have  thus  far  described.     In  the  first  rank  are 
here  to  be  mentioned  those  compositions  of  these  forms  in  slow  tempo, 
which,  under  the  name  of  "  Elegy,"  "  Ballad,"  "  Song  without  Words," 
or  under  various  other  titles,  partly  of  a  descriptive  character,  as, 
"Melancholy,"  "Resignation,"  "Nocturne,"  "Berceuse,"  etc.,  form 
independent  pieces  of  music,  or  appear  as  parts  of  larger  compositions. 
To  the  latter  kind  belongs,  for  instance,  the  Andante  of  BEETHOVEN'S 
Sonata,  Op.  28,  whose  separate  parts  have  already  been  illustrated  (see 
Figs.  42,  88). 

EIGHTEENTH    EXERCISE    (1). 
Compose  a  sloiv  movement  in  composite  primary  form. 

[Models  for  the  separate  parts  are  found  in  abundance  in  the  first  part  of  this 
work.] 

164.  The  number  of  compositions  of  the  kind  we  are  considering 
in  quick  tempo  is  no  less  great.     An  unusually  attractive  example  of 
this  kind,  CHOPIX'S  "Impromptu,"  Op.  29,  shall  here  be  analyzed,  as 
being  specially  instructive. 

The  left  hand  carries  through  a  figural  motive  which  is  interesting 
on  account  of  the  inserted  changing-note  d$, 


187. 


which,  however,  we  can  only  notice  in  passing,  as  we  wish  to  call  the 
student's  attention  to  the  construction  exclusively. 

Tlu-  entire  composition  is  carried  through  in  uninterrupted  motion. 
The  closes  are  for  the  most  part  veiled  by  lively  figuration. 


SPECIAL   FORMS. 


131 


The  first  part  (which  is  based  on  the  motive  cited  above)  has 
three-part  primary  form  of  8,  10  and  16  measures. 

The  Trio  has  two-part  primary  form  of  16  and  ||:16:||  measures. 

The  repetition  of  the  first  part  is  note  for  note,  a  short  Coda  leads 
to  the  close. 

If  we  now  turn  our  attention  to  the  separate  parts,  we  find  at  the 
beginning  a  regular  period  of  the  second  form,  consisting  of  Thesis 
and  Antithesis,  each  of  4  measures : 


188. 


i^i^^-rS^Sf-u  rfr-rag 

*M— VH — i**^ i»LJ-— pPV 


The  second  part  modulates  to  and  fro,  from  .E'lz-major  to 
back  to  ^k-major,  between  ^llz-major  and  ^ 


bis 


189. 


.          .,      ..       . 

*LJ4 —  rf* — ^nii^ U 


hereupon  follows  a  chromatic  succession  of  sextachords,* 

>-fc-W , J— t-U ,— b-l fihJ — J l—i    ,     I     ,    I 


190. 


*  Sextachord.  a  sliorter  expression  for  "  Chord  of  the  Sixth." 


132 


APPLICATIONS   OF  THE    PRIMARY   FORM. 


the  repetition  ot  which  adds  two  measures  to  the  length  of  this  part, 
which  then,  with  a  half  cadence,  passes  into  the  repetition — the  third 
part. 

The  comparatively  great  extension  of  this  third  part  is  no  longer 
new  to  us,  but  for  a  better  inspection  of  the  extensions  it  will  be  ad- 
vantageous once  to  represent  the  group  without  them,  as  in  our  first 
exercises,  and  to  reduce  it  to  the  measure  of  the  first  period. 


191. 


:E 


8va 


8va. 


Interpolated 
three  and  a  half 
measures. 

T 

,         <M  . 

t?       7       J 

—  at  — 

* 

*          3 

Here  follow  the  Coda  and  the  transition  into  the  Trio.  The 
interesting  modulation  in  the  Trio  is  left  to  the  observation  of  the 
student.  It  remains  only  to  remark,  that  the  second  period  of  this 
two-part  primary  form  has  no  immediate  thematic  relationship  with 
the  first.  Similar  combinations  are  of  frequent  occurrence  in  MOZART'S 
works,  especially  in  his  operas. 


Compose  a  piece  of  music  in  composite  primary  form,  in  quick 
TEMPO,  and  independent  of  any  special  dance-form. 

[The  chief  point  here  is  to  avoid  a  stereotyped,  dance-like  rhythmical  form  of 
accompaniment.] 


THE  RONDO-FORM,  IN  GENERAL.  133 

SECOND    DIVISION 
THE    LOWER    RONDO-FORMS. 


CHAPTER    XXVI. 
THE    RONDO-FORM,    IN    GENERAL. 

165.  The  lower  RONDO-FORMS  also  are  essentially  based  on  certain 
independent  elementary  forms,  yet  they  are  distinguished  from  the 
composite  primary  forms  by  a  more  direct — closer — connection  of  the 
parts.     At  the  same  time  they  often  come  in  so  close  contact  with  the 
primary  form  that  it  is  difficult  to  tell  one  from  the  other.    For — as  on 
the  one  hand  the  primary  forms  occasionally  relax  the  strictness  of 
their  boundary-lines, — the  Rondo-form,  on  the  other  hand,  sometimes 
admits  a  more  rigorous  limitation. 

166.  The  peculiarity  of  the  Rondo-form,  to  which  it  owes  its 
name  *  (Round-song,  or  Circle-song),  is  the  digression  from  a  chief 
subject  and  the  return  to  it.     But  the  special  feature  by  which  the 
Rondo  is  most  essentially  distinguished  from  the  composite  primary 
form — especially  as  the  latter  is  exhibited  in  the  dance-forms, — con- 
sists in  the  metrical  and  rhythmical  freedom  of  both  construction  and 
tonality.     Here  rhythmical  uniformity  entirely  disappears.     The  fan- 
tasy, left  to  itself,  enjoys  perfect  freedom  of  construction  and  rhyth- 
mical conformation,  but,  at  the  same  time,  has  one  support  less. 

167.  The  Rondo-forms  are  divided  into  the  lower  and  the  higher. f 
The  lower  are  based  on  the  primary-form  and  its  elements  exclusively, 
the  higher  partly  on  the  SONATA-FORM,  acquaintance  with  which  they 
accordingly  presuppose. 

168.  Among  themselves,  the  lower  Rondo-forms  are  distinguished 

*  From  the  "  Rondeau  "  of  the  French  poetry,  in  which  the  first  strophe,  after 
being  followed  by  a  second,  is  repeated.  The  old  English  "  Roundelay  "  was  some- 
what similar  in  form. 

f  Sometimes  the  terms  "  large  "  and  "  small  "  are  used  instead.  They  are  not, 
however,  to  be  recommended  in  this  connection,  as  they  apply  to  the  extent  of  the 
Rondo,  which  is  not  necessarily  involved  in  the  distinction  with  which  we  are  at 
present  concerned. 


134  APPLICATIONS   OF   THE   PRIMARY   FORM. 

one  from  another  by  the  number  of  the  themes  employed.     The  follow- 
ing distinctions  are  made  :* 

Rondo  of  the  first  form,  with  one  theme : 

Rondo  of  the  second  form,  with  two  themes : 

Rondo  of  the  third  form,  with  three  themes. 


CHAPTER    XXVII. 

RONDO    OF    THE     FIRST    FORM. 

169.  In  the  Rondo  of  the  FIRST  FORM  there  is  but  one  independent 
theme.    Between  this  and  its  repetitions  there  is  no  construction  of 
any  complete  form,  such  as  the  primary  form,  the  period,  and  the 
large  independent  phrase  (see  Chapter  VII.).      Other  forms  of  the 
phrase  are  not  regarded  as  sufficiently  complete  to  constitute  a  theme, 
over  against  the  chief  theme. 

The  theme  has  always  a  clearly  defined  form,  mostly  primary,  or 
that  of  a  large  period,  seldom  that  of  a  large,  extended  phrase. 

The  episodes  of  this  form  are  either  thematic,  i.  e.,  working  up 
some  thought  of  the  chief  theme,  or,  of  a  character  entirely  their  own, 
i.  e.,  introducing  new  motives,  but  not  working  them  up  into  any  com- 
plete form. 

The  repetitions  of  the  theme  are  as  a  rule  varied.  This  is  the  case 
particularly  in  slow  tempo,  which  is  specially  peculiar  to  this  form. 

The  close  is  often  enriched  by  a  Coda  (mostly  thematic). 

170.  An  example  of  such  a  Rondo  is  afforded  by  the  Largo  appas- 
sionato of  BEETHOVEN'S  A  -major  Sonata,  Op.  2,  whose  theme  has 
extended  two-part  primary  form  (see  Figs.  68,  69).    After  the  close  of 
the  theme  the  following  phrase  begins  in  J-minor, 

*  A  Avriter  in  GROVE'S  "  Dictionary  of  Music  and  Musicians "  says,  speaking 
of  the  gradual  development  of  these  three  forms :  "  The  Rondo-form  was  the 
earliest  and  most  frequent  definite  mould  for  musical  construction.  * 
Starting  with  a  principal  subject  of  definite  form  and  length,  the  first  idea  naturally 
was  t;>  preserve  this  unchanged  in  key  or  form  throughout  the  piece.  Hence  a 
decided  melody  of  eight  or  sixteen  bars  (measures)  was  chosen,  ending  with  a  full 
close  in  the  Tonic.  After  a  rambling  excursion  through  several  keys,  and  with  no- 
particular  object,  the  principal  subject  was  regained  and  an  agreeable  sense  of 
contrast  attained.  Later  on  there  grew  out  of  the  free  section  a  second  subject  in 
a  related  key,  and  still  later  a  third,  which  allowed  the  second  to  be  repeated  in 
the  Tonic.  *  ::  The  first  of  these  classes  is  the  Rondo  from  COUPERIN  to 

HAYDN,  the  second  and  third  that  of  MOZAKT  and  BEETHOVEN." 


HONDO    OF   THE  FIRST   FOKM. 


135 


192. 


etc. 


ryfl — Jz? — 9-^ft"1' — r£ — 


which  in  the  4th  measure  makes  a  complete  close  in  /$-minor.  It  is 
immediately  repeated  in  this  key,  the  melody  being  given  to  the 
middle  voice, 


193. 


iiS§ii^%^^§^^^^^i^ 

r  lt~f~F~~r — ^ — ^ — r — ~^~f~^ — f— ?— ? — f — 


then,  with  a  new  motive — 


194. 


g__p  —f^jp — p— T~f~f — *~|* — h — h — 


betakes  itself  to  the  Subdominant  of  the  principal  key,  and  thus  re- 
turns to  the  theme,  which  is  repeated,  note  for  note,  without  variation. 
To  this  is  joined  a  group  of  four  measures,  connecting  with  the 
middle-group  of  the  theme,  with  the  following  imitation, — 


APPLICATIONS   OF  THE   PRIMARY   FORM. 
(Canon.) 


136 


195. 


which  is  repeated  in  heightened  figuration : 


196. 


At  the  last  measure  of  this  group  the  theme  begins  in  minor,  leading 
with  a  powerful  harmonic  climax  to  the  dominant,  whereupon  it  re- 
appears, shortened  to  an  8-measure  period,  with  new  figuration  in  the 
second  voice, 


(en. 


197. 


and  the  whole  movement  closes  with  a  Coda  of  8  measures. 

NINETEENTH    EXERCISE. 

Compose  a  Rondo  of  the  first  form  in  sloiv  tempo. 

171.  Of  all  applications  of  this  form  the  Andante  of  BEETHOVEN'S 
c-minor  Symphony  may  perhaps  be  regarded  as  the  most  noted  and 
the  most  perfect  model.  Though  it  is  taken  for  granted  that  the 


RONDO  OF  THE   FIRST  FORM. 


137 


student  of  composition  is  perfectly  familiar  with  this  movement,  yet 
it  must  here  be  subjected  to  a  technical  analysis,  not  only  to  serve  as 
a  model  of  formal  structure,  but  also  to  call  attention  to  the  finished 
manner  in  which  the  variations  of  the  theme  are  here  introduced  and 
worked  out. 

The  theme,  which  is  given  in  Fig.  50,  is  enlarged,  by  a  group  de- 
veloped out  of  the  close,  from  eight  to  twenty-two  measures.  To  this 
is  joined — rhythmically  connecting  with  the  first  figure  of  the  theme 
— a  group  of  27  measures,  beginning  in  -4 


dolce. 


198. 


afterwards,  with  the  remarkable  transition  from  pp  to  ff, 


199. 


etc. 


making  a  cadence  in  C'-major.     The  same  group  then  begins,  this 
time  given  to  the  brass-instruments,  in  (7-major, 


200. 


^N**fe4f?=lP]|j= 


and  modulates  thence  in  pp  back  to  .-i^-major,  when  the  first  variation 
is  introduced : 


138 


APPLICATIONS   OF  THE    PRIMARY    FORM. 


201. 


This  variation,  with  somewhat  enhanced  figuration,  is  applied  to 
all  that  has  preceded. 

The  second  variation,  which  now  follows — 


202. 


etc. 


«j 3     fi     *i N  \  £     *t     ~£      *i~    «<  ~ff~ 

-^  p  y  p- 


is  limited  to  the  chief  subject  proper  (8  measures),  is  repeated  climac- 
terically,  and  leads  directly  into  the  third  variation : 


203. 


This  closes  in  the  tenth  measure  on  the  dominant,  and  here  begins, 
developing  itself  out  of  the  motive 


ddce. 


204. 


the  four-voiced  phrase  for  flute,  oboe  and  clarinet,  which  finally  leads 
back  into  the  place  in  f-major  (Fig.  200)  with  increased  tone-volume. 
From  this  a  figural  modulation  leads  to  the  last  two  variations,  the 
first  of  which  is  minor, 


ROXDO   OF  THE  FIRST  FORM. 


139 


HrF t— 3 — £ 3- 

-H?  - 4  f  i  ?  •/  ==y5? 


205. 


whilst  the  second  takes  on  a  free  canon  form : 

— • 
£•*-+• 


206. 


etc. 


_ 


The  subsequent  piu  moto  and  a  tempo  is  a  closing  Coda. 

172.  In  quick  tempo  the  first  Rondo-form  is  best  modelled  on  the 
enlarged  three-part  primary  form,  from  this  launching  out  into  pas- 
sages, runs,  modulations,  etc.,  then  repeating  the  chief  subject  in 
abridgment,  again  digressing  from  it,  and  closing  with  a  more  com- 
plete repetition  of  it,  with  Coda.  Example,  BEETHOVEN'S  Sonata, 
Op.  10,  No.  3,  Rondo  Allegro. 

REMARK. — It  has  already  been  pointed  out  that  the  Rondo  and  the 
composite  primary  form  are  very  easily  confounded.  But  the  extended 
simple  primary  form  may  also  be  confounded  with  the  Rondo-form. 
An  extremely  clear  illustration  of  this  is  the  Andante  un  poco  adagib 
of  MOZART'S  Sonata  in  (7-major : 


207. 


This  long  piece  of  music,  numbering  79  measures — 

Andante  vn  poco  adagio. 


140  APPLICATIONS  OF  THE   PRIMARY  FORM. 

is  nothing  more  than  an  extension,  by  means  of  written  out  and 
varied  repetitions  of  the  several  parts,  of  a  two-part  (or  two  to  three- 
part)  primary  form  in  the  following  proportions : 

{Thesis 8  measures. 

Antithesis 8  " 

Varied  repetition . . . .  „ 16  " 

/  Thesis 12  * 

Second  Part  :  •<  Antithesis 8  " 

( Varied  repetition 20  " 

Lengthening  of  the  close. . . 4^  " 

Coda 4  " 

79 


CHAPTER    XXVIII. 

THE  RONDO  OF  THE  SECOND  FORM. 

173.  In  the  Rondo  of  the  SECOND  FORM  two  themes  stand  over 
against  each  other,  of  which  the  second  has  most  generally  about  the 
same  relation  to  the  key  as  the  Trio  in  the  composite  primary  forms 
has  to  the  principal  theme,  i.  e.,  it  is  only  exceptionally  in  the  key  of 
the  Dominant,  mostly  in  the  parallel  key,  the  homonymic*  key — 
Maggiore  (major)  against  Minore  (minor),  and  vice-versa, — in  the  key 
of  the  Mediant,  or  occasionally  in  a  more  remote  key. 

The  first  theme  is  constructed  like  the  theme  of  the  first  Rondo- 
form. 

The  second  theme  is  either  introduced  by  a  modulation,  or  connects 
immediately  with  the  first.  In  the  latter  case  it  very  closely  approaches 
the  composite  primary  form,  yet  with  this  difference,  that  here  the 
structure  of  the  theme  is  not  necessarily  in  that  form. 

On  the  other  hand  the  second  theme  shows  a  decided  tendency  to 
lead  back,  before  forming  a  clow,  into  the  first  theme. 

174.  Whether  the  alternation  of  the  two  themes  takes  place  only 
once  or  several  times,  is,  as  far  as  concerns  the  determination  of  the 

*  That  is,  having  the  same  name  (Tonic),  but  differing  in  mode.  Thus,  the 
scale  or  key  of  C-major  and  that  of  r-minor  are  homonymic  scales  or  keys.  On  the 
other  hand,  two  scales  or  keys  with  different  names,  though  they  may  be  of  the 
same  mode,  are  heteronymic ,  as  for  example,  C-major  and  e-minor,  or,  (7-major  and 
,4-major.  etc.,  etc. 


THE   RONDO   OF   THE   SECOND   FORM. 


141 


form,  immaterial ;  as  also,  whether  the  themes  are  repeated  entire,  or 
With  abbreviation,  or  with  extension. 

175.  The  most  brilliant  model  for  this  form,  although  closely 
resembling  the  composite  primary  form,  with  principal  subject  and 
Trio,  is  the  incomparable  Allegretto  of  BEETHOVEN'S  ./l-major  Sym- 
phony. 

The  short  subject  (see  Fig.  44  b)  in  two-part  primary  form,  on 
which  this  great  composition  is  based,  and  which  by  repetition  of 
the  last  8  measures  is  extended  to  24  measures,  is  first  repeated  in 
three  variations,  beginning  with  the  combination  of  violas,  violoncelli 
and  basses,  and  leading  up  to  the  display  of  the  full  power  of  the 
orchestra.  A  short  transition — 


209. 


then  leads  into  the  second  theme,  which  is  in  .4 -major,  and  sustains 
in  the  bass  the  rhythmical  motive  running  through  the  whole  piece. 


210. 


The  second  theme  has  the  following  structure : 

Period  (with  Thesis  as  above,  Fig.  210)  closes  in  J^-major 

(Dominant) 16  measures. 

Interpolated  imitation-group,  as  in  the  following  fig. ,  3  x  2=      6         " 


142 


211. 


APPLICATIONS   OF   THE    PRIMARY   FORM. 


Clarinet. 


Period  of  2  x  8  measures,  closing  the  first  time  in  the  prin- 
cipal key,  the  second  time  in  (7-major 16  measures. 

The  above  imitation -group  in  (7-major 6          " 

Total  number  of  measures  in  second  theme,    44          " 

There  is  no  return  to  the  beginning;  the  movement  breaks  off 
here,  and  passes  into  the  major  dominant  harmony  of  a-minor. 

Hereupon  follows  the  fourth  variation,  in  which  the  flute,  oboe  and 
bassoon  have  the  counterpoint  (Fig.  45),  the  bass  the  theme,  the  violins 
and  viola  the  figuration.  This  variation  is  lengthened  by  a  Coda. 
Immediately  upon  this  follows  a  fugato  on  the  theme — 


212. 


etc. 


as  fifth  variation ;  it  ends  with  a  figuration  for  wood  wind-instru- 
ments in  ff,  against  the  principal  motive  carried  by  the  string  quartet, 
trumpets,  horns  and  kettle-drums,  in  8  measures,  with  a  decisive  close 
in  «-minor. 

Hereupon  the  transition  given  in  Fig.  209,  slightly  varied,  and 
repetition  of  the  second  theme — abbreviated  to  a  period  closing  tonic- 
ally,  with  a  Coda  of  4^-  measures. 

Short  movement  of  8  +  4  measures,  from  the  chief  subject. 

Last  variation,  and  close. 

The  subject  in  A-major  cannot  be  considered  as  a  variation  of  the 
principal  theme,  for  lack  of  the  harmonic  conditions ;  nor  has  it  the 
independence  of  construction  necessary  to  a  Trio.  We  may  therefore 
rightly  regard  it  as  second  theme  of  a  Rondo  of  the  second  form,  whose 
principal  theme  has  many  variations. 

170.  Of  simpler  construction,  and  more  easily  understood  by  the 


THE   ROtfDO   OF  THK   THIRD   FORM.  143 

beginner,  are  the  Rondos  of  the  second  form  in  BEETHOVEN'S  piano- 
sonatas  : 

C'-major,  op.  2,  Adagio,  I,  2^-major,  II,  e-minor. 
^-major,  op.  14,  Finale,  I,  .E'-major,  II,.  6r-major. 
6r-major,  op.  31,  Adagio,  I,  f-major,  II,  ^4b-major. 

besides  which  many  other  compositions  of  our  masters  might  be  men- 
tioned. 

TWENTIETH    EXERCISE. 
Compose  a  Rondo  of  the  second  form,  TEMPO  ALLEGRETTO. 


CHAPTER     XXIX. 

THE  RONDO  OF  THE  THIRD  FORM. 

177.  In  the  Rondo  of  the  third  form  the  distribution  of  the  three 
themes  is  according  to  the  following  scheme : 

First  theme. 

Second  theme. 
First  theme  (abbreviated  ?). 

Third  theme. 
First  theme  (entire,  or  less  abbreviated). 

Coda  and  Close. 

The  first  theme  has  most  usually  (especially  in  quick  tempo)  ex- 
tended primary  form ;  so  that  the  difference  between  the  Rondo  of  the 
third  form  and  the  composite  primary  form  with  two  Trios  often  con- 
sists (apart  from  the  greater  freedom  and  copiousness  of  the  former) 
only  in  the  prevalence  of  the  tendency  to  transitional  groups  and  in 
the  abbreviation  of  the  repetitions  of  the  theme, — and  even  these 
differences  afford  no  certain  criterion. 

178.  In  many  obsolete,  but,  for  all  that,  not  uninteresting  com- 
positions of  the   first  period  of  form-development  in  the  preceding 
century,   this  form-relationship   is   very   plainly  apparent.      Among 
these  are  many  youthful  works  of  MOZART,  which  certainly  have  at 
least  an  historical  and  biographical  interest,  as  for  example,  the  Rondo 
of  the  small  E?  Sonata: 


144  APPLICATIONS   OF  THE   PRIMARY   FORM. 

Allegro  vivace. 


Right 

213. 

Violin. 


Left. 


etc. 


The  first  theme  of  the  Rondo  here  cited  has  large  three-part  pri- 
mary form.     It  is  immediately  followed  by  a  subject  in  primary  form 


in  c-mmor: 


214. 


which  closes  its  first  period,  according  to  rule,  in  the  parallel  key. 
The  continuation — beginning  of  the  second  part,  two-part  primary 

form — 


THE  RONDO  OF  THE  THIRD  FORM. 


145 


215. 


t? — ^-rt*— fla 1 — 1 1 r-r  ff-— ^ 1 ITTI  *  —  ?-,-*»- 


makes,  four  measures  after,  a  sudden  close  in  c-minor,  to  modulate 
back  to  the  Dominant  of  the  principal  key.  Hereupon  follows  the 
first  theme,  abbreviated  to  period-form. 

The  third  theme  now  begins,  in  el?-minor  (it  is  given  entire  in 
Fig.  57)— 


216. 


in  three-part  period-form  of  25-^  measures.     On  the  final  measure 
the  first  theme  again  enters. 

This  example  is  here  purposely  chosen,  on  account  not  so  much  of 
its  merits  as  a  composition,  as  of  the  simplicity  and  perspicuity  of  its 
formal  structure.  So,  too,  in  the  Rondo  of  the  C-major  Sonatina  : 


217. 


Allegro. 
v 
~t 

~- 


;=^ n 1 1 n 


and  in  that  of  the  e-minor  Sonatina  (cited  in  Fig.  49  a),  whose  themes 
will  be  given  later.  As  a  transition  to  the  BEETHOVENIAN  models  we 
will  take  the  better-known  a-minor  Rondo  of  MOZART: 


218. 


146 


APPLICATIONS  OF  THE   PRIMARY   FORM. 


179.  The  most  brilliant  BEETHOVENIAN   example  of  the  third 
Rondo-form  is  the  Finale  of  the  Grand  Sonata  in  (r-major,  Op.  53. 
The  first  theme : 


Allegro  moderate. 
Thesis. 


219. 


2— 


Antithesis. 


-b-?~ 


ill 


has  extended  small  three-part  primary  form.     Coda  and  transition : 


220. 


8  measure*. 


Second  theme,  in  «-minor: 


simile 


221. 


•  ^«_5__- 


__*_  _        - 

—  C—  I 
*-  —  a  —  »-T  —  ^ 

-     — 


L-f:  T  fL_«_*_,_T_  |  _  End  of  the  Thosi«.    Antithei 
—  I  |-»  —        follows.    Total,  16  measur 


tithesis 


-f — ^ — t — I — \~  Tlien  follows  a  double-phrase 

of  2  x  4  +  4  measures. 


THE    HONDO   OF  THE   THIRD    FORM. 


147 


Kepetition  of  the  first  theme  in  its  entire  extent. 
Third  theme,  in  c-minor: 

(The  right  hand  has  subsequent  sixteenths). 


^—   r+^UJj 
— i — i  -i — i — i— <-—> — f^\-t 


222. 

7         "*"  ^fcZVi*  ~*  "* 


Eepeated,  melody  in  the  right  hand,  bass  contrapuntalizes  in 
16th-Triplets.  Antithesis:  right  hand  has  the  counterpoint  (double 
counterpoint  at  the  OctaVe). 


223 


Eepeated  in  the  inversion  at  the  Octave,  whereupon  the  close  is 
repeated,  once  entire,  twice  half,  and  an  additional  close  formula  is 
appended. 

First  theme  and  close.  The  last  repetition  of  the  first  theme  is 
preceded  by  an  amply  developed  introduction,  whose  starting-point  is 
the  principal  motive,  and  which  presupposes  virtuosity  in  the  execu- 
tant. The  repetition  itself,  on  the  other  hand,  is  abbreviated.  This 
is  followed  by  a  copious  development  of  the  transition-motive  given  in 
Fig  220,  and  by  a  prestissimo,  which  is  concerned  almost  exclusively 
with  the  first  motive  of  the  theme,  and  also  presupposes  a  virtuoso. 

TWENTY-FIRST    EXERCISE. 


Compose,  according  to  the  instructions  and  examples  given,  a  Rondo 
•of  the  third  form  in  quick  TEMPO. 


148 


APPLICATIONS   OF  THE   PRIMARY   FORM. 


CHAPTER    XXX. 

TRANSITIONAL     FORMS. 

180.  Between  the  first  and  second  Rondo-form  there  are  TRANSI- 
TIONAL FORMS,  which  seem  to  share  the  characteristics  of  both.    They 
owe  their  origin  to  the  circumstance  that  the  middle-groups  of  the 
first  Rondo-form  take  an  unusually  independent  form,  or,  that  the 
second  theme  of  the  second  Rondo-form  proves  unusually  short,  in- 
significant or  vacillating. 

In  such  cases  the  determination  of  the  form  is  doubtful,  and  we 
have  a  Rondo  of  the  first  quasi  second  form,  or,  of  the  second  quasi 
first. 

All  forms  show  such  transitional  phases,  the  exhaustive  discussion 
of  which,  however,  would  be  out  of  place  h£re. 

181.  An  example  of  a  composition  vacillating  between  the  first 
and  the  second  Rondo-form  is  the  Andante  of  BEETHOVEN'S  jE'^-major 
Sonata,    Op.   7.      It    forms  a  very  extended    principal    subject  in. 
6"-major — 

Largo,  con  gran  espressione. 


224. 


iyfe 


in  three-part  primary  form.     The  subject  which  immediately  follows 
in  ^4|?-major — 


225. 


i  ' 

=j 

i 

-.." 



-d 

i 

•  :         -3 

.     -8 

•         <« 

i  — 

—  j 

& 

L 

—  • 
T 

forms  at    first  a  four-measure    phrase — tetrameter— closing  in   the 
Tonic.     Hereupon    follows    a  similarly  constructed    tetrameter    in 


THE   VOCAL   SOXG.  149 

/"-minor,  having  the  same  thematic  subject-matter.  It  begins  again 
in  Ufa-major,  but  modulates  in  the  fourth  measure,  by  means  of  the 
chord  of  the  augmented  Sixth,  into  the  Dominant  of  (7-major. 

In  view  of  the  consistent  formal  structure,  we  might  consider  this 
as  a  second  theme,  and  decide  in  favor  of  the  second  Rondo-form.  But 
in  view  of  the  vacillating  modulation  the  character  of  theme  may  be 
disputed,  and  a  Rondo  of  the  first  form  be  assumed.  It  is,  in  fact,  a 
Rondo  of  the  second  quasi  first  form. 


THIRD     DIVISION. 


CHAPTER    XXXI. 
THE    VOCAL    SONG.* 

182.  In  the  VOCAL  SONG  the  musical  form  is  not  free,  in  the 
sense  of  being  subject  to  musical  conditions  exclusively,  but  is  depend- 
ent on  the  poetical  form  and  the  logical  laws  of  the  language.  There 
is  good  reason  to  believe  that  originally  the  lyric  poem  and  the  music 
to  it  were  one  in  invention  and  execution  ;  i.  e.,  that  the  poem  was  at 
once  musically  conceived.  Gradually,  especially  through  the  popular- 
ization of  writing,  afterwards  of  printing,  the  two  elements  of  the 
song  were  separated.  Poetry  became  to  that  extent  enriched  with 
ideas,  music  so  energetically  created  for  itself  independent  forms,  that 
both  could  no  longer  originate  together,  but  had  to  be  joined,  in  order 
to  re-establish  the  primeval  unity  of  the  song — for,  song  means  sung 
poem. 

It  is  only  in  our  time,  in  the  domain  of  the  grand  opera,  that,  by 

*  The  German  word  "Lied"  is  here,  as  usually,  translated  "Song;"  it  is, 
however,  difficult  to  define  clearly  and  tersely  precisely  what  that  word  expresses. 
Its  character  is  most  generally  lyric  :  yet  the  same  name  is  given  to  a  vocal  com- 
position of  a  dramatic  character,  such  as  SCHUBERT'S  "  Erl-king,"  SCHUMANN'S 
"  Two  Grenadiers,"  etc.  The  term  is,  in  fact,  a  comprehensive  one,  and  includes 
the  Ballad,  the  National  Air.  the  Couplet,  the  Comic  Song,  etc.,  also  compositions 
for  two  or  more  voices.  Among  the  most  famous  of  modern  composers,  SCHUBERT, 
SCHUMANN,  LISZT,  R.  FRANZ,  and  MENDELSSOHN,  are  especially  to  be  named  as 
having  left  noble  models  of  this  art-form,  the  study  of  which  is  the  best  possible 
method  of  acquiring  the  art  of  writing  beautiful  songs. 


150 


APPLICATIONS   OF  THE    PRIMARY   FORM. 


means  of  harmony,  ripened  into  a  perfect  means  of  expression,  in 
union  with  dramatic  action  and  declamation,  a  re-establishment  of 
the  original  state  of  things  on  a  higher  plane  has  been  made  possible, 
unusually  comprehensive  mental  gifts  being  of  course  presupposed. 

There  can  be  no  question  but  that  every  musical  form  may  be 
imitated  in  poetry,  thus  that  it  is  possible  to  adapt  to  a  composition, 
kept  within  the  limits  of  vocal  setting,  a  suitable  poetical  text.  This, 
is,  however,  something  that  concerns  the  musical  poet,  not  the  poetical 
musician, 

For  the  latter  the  task  here  is  the  opposite  one, — to  compose  the 
music  to  a  strophic  poem. 

The  doctrine  of  Form  is  only  incidentally  concerned  with  this 
subject ;  nevertheless,  the  principal  points  of  the  technical  treatment 
of  the  song  shall  here  be  briefly  presented. 

183.  The  composition  faithfully  follows  the  meter  and  the  versifi- 
cation of  the  poem,  conforming  them,  as  a  rule,  to  the  two-measure 
metrical  system  of  music,  i.  e.,  organizing  them  into  groups  of  two, 
four,  eight,  and  so  on,  measures,  as  in  the  following  examples: 


226. 


The  clouds    are     fly  -   ing,    the      oak     -      woods  roar, 


The     maid     -      en      sit  •    teth    up  -  on the  shore; 


The     huge     waves    are      break  -  ing      with  might,    with    might, 


She  sends   forth    her     sighs..        to     the     dark     -     some  night, 

SCHUBKBT. 

!^rZJ£Ejg^^^==J3=riMjH=^Efi 

— ^      *    -J*     r    — ^ — ¥r~- _iig~  ziz*zzi=_=lt 


Her      eyes..       all     be   -   dimm'd     are  with     weep    -    ing. 


THE  VOCAL  SONG. 


151 


227. 


Once  reigned  a  monarch  in  Thu  -  le,  True  even  un-to     the  grave, 

1        ZELTER. 


r~ 


To  whom  his  mistress,  dy  -  ing,    A  gold  -  en  beak-er     gave. 
(The  last  measure  is  an  extension,  taking  the  place,  as  it  were,  of  a  pause.) 


a. 


MR? 


--«— te 


^ 


While  mer  -    ri   -    ly       once      rid 

zfc: 


g§=^=  ^3=3=34^: 


-     ing       through 

H^l 


cool      and      shad  -  y        wood. 


(By  the  prolongation,  twice,  of  the  emphatic  tone  b  in  the  above,  the  first 
section  seems  to  have  three  measures,  the  second  one  four  ;  yet  each  section  con- 
sists essentially  of  two  measures,  as  if  written  thus  : 


b. 


-  nu _. i .  "  '  ' 


2l 


While  mer-  ri  -  ly   once  rid  -  ing     thro'  cool  and  s'.iad  -  y      wood. 

184.  Occasionally  the  structure  of  the  words,  and  other  circum- 
stances, will  require  grouping  of  the  measures  by  odd  numbers,  at 
least  in  part  of  the  song,  as  in  the  following  example: 


Larghetto. 


229. 


=^=^=^=g^=^|^=^ 


^1 


Since  mine  eyes     be  -  held  him,       Blind  I      seem    to    be  ; 


\Vhereso  -  e'er     they  wan-der,          Him   a      lone   they  see.   Round  me 


152 


APPLICATIONS   OF  THE   PRIMARY   FORM. 


-Q-ft  —  ^^ 

-3-^^- 

~                        21    1        " 

fe^-l 

-i  1  

-r—*    e  s- 

1  —  r  '  ^*  —  r*1"^"  —  5~ 

V 

glows. 

9  y—  H  P-*. 

.  .  his     im  -  age     In        a 

wak    -     ing     dream,   From  the 

SCH  I'M  ANN. 

n    u 

>1            "Tl  1 

•n 

U  ,7 

»-j  — 

r*~?  — 

^  —  »  —  s  —  1s- 

~~N  ^  »~Ti  i  

—  }  —  i 

fo^  

m 

(^  — 

—  j 

•-J-4-  r    r  - 

-^  —  *  —  if 

dark    -    ness    ris   -   ing,  Brighter,    brighter    than      be  -  fore. 

185.  Repetitions  of  the  text  may  be  employed,  as  a  means  of  en- 
larging the  composition  and  giving  it  greater  freedom  of    form. 
Examples  of  this  are  so  numerous  that  quotation  is  unnecessary.     Of 
course,  every  such  repetition  of  words  should  be  justified  by  tlieir 
import,  and  the  truly  cultured  song-composer  will  not — even  for  the 
sake  of  improving  the  musical  form — bring  in  a  repetition  which  is 
senseless  or  even  absurd.* 

186.  The  composer  is  bound  by  the  inviolable  law  of  the  logical 
declamation  of  the  text,  but  in  other  respects,  treats  the  text  with 
perfect  freedom,  according  to  purely  musical  laws.     In  the  languages 
of  the  Teutonic  family  the  pronunciation-accent  forms  an  essential 
element  of  the  logical  accent,  f  which  is  not  so  strictly  the  case  in  the 

*  An  instance  of  absurd  repetition  is  found  in  a  very  weak  sacred  song,  perhaps 
still  popular,  in  which  occur  the  words :  "  Solomon  in  all  his  glory  was  not  arrayed 
like  one  of  these  "  (i.  e.,  lilies).  The  meaning  of  this  is  plain  enough.  Yet  the 
composer — to  judge  from  his  repetition  of  the  words  "was  not  arrayed" — would 
seem  to  have  understood  the  meaning  to  be,  that  Solomon  wore  no  clothes,  thus 
resembling  the  lilies  of  the  field.  "*****  was  not  arrayed — was  not  arrayed — 
like  one  of  these."  The  senseless  frequent  repetitions  of  a  few  words  so  copiously 
illustrated  in  most  of  HANDEL'S  songs,  for  instance,  are  happily  out  of  date,  to- 
gether with  the  mannerism  to  which  they  are  owing. 

t  The  "  special  functions  "  of  these  two  kinds  of  accent,  says  my  lamented 
friend  the  late  Mr.  SIDNEY  LANIER  in  his  "  Science  of  English  Verse,"  Chapter 
IV,  are : 

To  call  the  ear's  attention  to  particular  sounds  in  a  series  of  syllabic  sounds  con- 
stituting an  English  word,  for  the  purpose  of  emphasizing  the  special  dignity, 
above  other  sounds  in  that  word,  of  the  root  sound  (generally)  thus  distin- 
guished by  the 

PRONUNCIATION  ACCENT. 

To  call  the  ear's  attention  to  particular  words  in  a  series  of  English  words  con- 
stituting a  sentence,  for  the  purpose  of  emphasizing  the  logical  importance, 
above  other  words  in  that  sentence,  of  the  word  whose  main  sound  is  thus 

distinguished  by  the 

LOGICAL  ACCENT. 


THE   VOCAL  SONG. 


153 


Romanic  languages  (notably  in  the  French).  Faults  against  the 
pronunciation-accent  are  naturally  less  frequent  than  violations  of  the 
logical  accent.  Of  these  latter  even  the  great  HANDEL  was  not 
seldom  guilty,  as  in  the  following  examples  from  his  "Messiah"  — 


230. 


He     was       de  -  spis  -ed,  etc. 

in  which  the  logically  unimportant  words  "shall"  and  "was"  receive 
an  undue  accent.  So  too  in  the  air  (in  the  same  Oratorio),  "  Behold 
and  see,"  at  the  words :  "  if  there  be  any  sorrow  like  unto  his  sorrow :" 
here  the  composer  should  emphasize  the  word  "his,"  instead  of  which 
he  sets  the  word  twice  without  any  accent,  thus : 


231. 


Like  unto  his  sorrow. 


— v— u— 

Like  nnto  his  sorrow,  etc. 


187.  Intimately  connected  with  this  subject  is  that  of  Inflexion. 
'To  borrow  the  language  of  Mr.  E.  PROUT:*  "Just  as,  in  speaking,  we 
not  only  accent  certain  words,  but  raise  the  voice  in  uttering  them,  so 
in  vocal  music,  especially  in  that  depicting  emotion,  the  rising  and 
falling  of  the  melody  should  correspond  as  far  as  possible  to  the  rising 
and  falling  of  the  voice  in  the  correct  and  intelligent  reading  of  the 
text."  In  fact,  the  most  conscientious  composers  make  use  of  certain 
musical  inflexions  either  corresponding  to  interrogation,  or,  in  general, 
of  a  declamatory  character.  f  Here  is  an  example,  from  WAGNER'S 
"  Lohengrin  "  (Act  II,  Scene  V),  of  a  common  type  of  interrogatory 
inflection  : 


*  In  GROVE'S  "Dictionary  of  Music  and  Musicians,"  Article,  "Accent." 
f  "  The  tone-colors  which  arise  in  (expressive  and  poetic)  speech,  and  the 
characteristic  and  pathetic  accents  which  come  to  the  front  in  words  and  syllables, 
constitute,  at  least  in  a  low  degree,  a  symbolism  of  its  expression,  and  afford  to 
music  the  proximate  starting  points  for  associating  itself  with  speech,  in  order  to 
truthfully  heighten  that  expression." — H.  KUSTER,  Populdre  Vortrage,  etc. 


154 


APPLICATIONS  OF  THE   PRIMARY   FORM. 

(Lohengrin.) 


232. 


Doth  doubt    per-  mit     thee  no      re  -  pose  ? 


=3 


"T~ — 


I 


z — TS*- '.- z — if > rS^ r  r- 


Wilt     thou,  my    name      I  should  dis  -  close  ? 


which  is  surely  more  characteristic  than  would  be — for  the  same 
words — a  close  on  the  tonic,  or  even  a  perfect  cadence  in  the  key  of  the 
dominant.— In  the  same  opera,  "Lohengrin,"  where  Elsa  avows  her 
faith  in  the  champion  who  is  to  come  to  her  defence,  in  the  words — 

Des  Hitters  will  ich  wahren, 
Er  soil  mem  Streiter  sein, 

which  may  be  roughly  translated  thus : 

I'll  bide  the  brave  knight's  coming, 
He  shall  my  champion  be  ; 

the  logical  importance  of  the  word  "  He  "  in  this  connection  is  brought 
out  by  the  declamatory  inflexion  which  the  composer  employs  for  this 
purpose : 


233.  Ffcfct 


Des   Kit  -  ters  will  ich   wah-ren, 


Er  soil  mein  Strei-ter  sein. 
He  shall  my 


THE   VOCAL   SOXG.  155 

and  afterwards,  with  still  greater  emphasis : 

234. 

"-^K— 

Des     Bit  -  ters  will  ich  wahren,    Er. . .  soil  mein  Streiter  sain. 

He... 

188.  In  the  case  of  a  song  with  many  stanzas  or  (which  means 
very  much  the  same  thing)  strophes,*  it  is  of  course  at  the  option  of 
the  composer  to  set  each  strophe  differently.     The  song  is  then  said  to 
be  composed  throughout  (after  the  German  expression  "  durchcompo- 
nirt").    But  when  one  and  the  same  setting  (occasional  slight  variations 
not  being  reckoned)  is  used  for  the  whole  song,  the  latter  is  said  to  be 
composed  strophically  (one  strophe  giving  the  melody  for  all  the 
others).     This  latter  mode  of  setting  would,  however,  not  be  appro- 
priate for  songs  of  an  epic  or  dramatic  character,  with  many  strophes, 
of  which  many  Ballads  f  and  Romances  afford  instances, — such  songs 
should  be  composed  throughout.     Among  other  models  of  this  kind 
of  composition  are  SCHUBERT'S  "Erl-king,"  and  SCHUMANN'S  "The 
Two  Grenadiers." 

189.  It  sometimes  happens  that  in  a  poem  for  music  a  thought 
begins  at  the  end  of  a  line  and  runs  over  into  the  next  line,  as  in  the 
following  couplet,  translated  from  EICHENDORFF  for  a  foreign  edition 
of  SCHUMANN'S  "  Liederkreis "  (Song-cycle),  Op.  39. 

Men's  guile  and  fraud  are  great ;  in  twain 
My  heart  is  rent  with  grief  and  pain. 

Such  anomalies  are  in  general  objectionable  from  a  musical  point  of 
view,  as  requiring  in  the  musical  setting  an  exceptional  adjustment  of 
the  melody, — at  least  the  composer  is  bound  to  see  that  his  musical 
phraseology  does  not  make  nonsense  of  the  words,  as,  for  instance: 

Men's  guile  and  fraud  are  great  in  twain, 
My  heart  is  rent,  etc. 

In  the  present  case  the  English  adaptation  involves  precisely  this 
nonsense  (the  composer  is  of  course  not  responsible,  for  in  the  German 
original  the  first  line  ends  with  a  complete  thought,  and  the  music 
agrees  with  it): 

*  Either  of  these  words  should  be  used  instead  of  the  expression   "verso," 

which  properly  means  a  line  of  poetry.     In  this  sense  we  speak  of  "blank  verso." 

f  The  German  type  of  Ballad  is  here  meant,  embracing  poems  of  a  narrative 

character    (as  Biirger's  "  Lenore,"  etc.),   rather  than  the  English  ballad  of  the 

present  time,  which  is  often  purely  lyric. 


156 


APPLICATIONS   OF   THE    PRIMARY    FORM. 


(  Great      is     of    men      the     fraud . . .  and  guile,     My  heart 
"I  Gross      1st    der  Man  -  ner      Trug...   und  List,    Vor  Schmerz 


235. 


Men's  guile  and  fraud    are       great,. .     in  twain     My  heart 


In  a  case  like  the  above  a  good  reader  would  pause  after  "  great,"  and 
closely  connect  "  in  twain  "  with  the  line  following.  A  similar  course 
for  every  similar  case  should  be  followed  in  the  musical  setting;  thus, 
in  the  present  case,  the  first  musical  thought  should  end  with  the 
word  "great,"  and  a  second  one  begin  with  "in  twain  my  heart,"  etc. 
So  that  if  SCHUMANN  had  had  only  these  English  words  to  set  to  the 
above  musical  thought,  he  would  probably  have  constructed  the  latter 
somewhat  like  this : 


236. 


Men's      guile    and      fraud. .    are  great,    in  twain  My  heart,  eta 


THIRD      PART. 
THE   SONATA-FORM. 


CHAPTER    XXXII. 

SONATA  AND  SONATA-FORM. 

190.  By  SONATA  is  meant  a  piece  of  music  consisting  of  several 
independent  movements,  and  composed  for  one  or  two  solo  instru- 
ments.    The  number  of  these  movements  is  three  or  four,  fewer  being 
very  exceptional.     On  the  other  hand,  the  expression  SONATA-FORM  * 
denotes  that  particular  form  of  one  movement  with  which  we  are  at 
present  concerned. 

191.  The  peculiarity  of  the  Sonata-form,  as  contrasted  with  the 
primary  form  and  the  Eondo-form,  in  which  the  different  subjects 
are  as  it  were  merely  placed  in  juxtaposition,  is  the  organic  unity  of 
the  whole  movement.     If,  therefore,  a  complete  cadence  is  made  at 
the  end  of  the  first  division,  it  is  in  a  key  which  is  not  only  different 
from  the  principal  key,  but  (for  the  most  part)  points  to  it,  and  is  in 
close  relation  to  it. 

Hence,  the  intimate  union  of  all  the  parts  into  a  whole,  which  will 
make  itself  felt  as  such, — this  is  the  problem  to  be  worked  out  with 
all  the  means  of  form-structure  which  we  have  thus  far  acquired. 
In  this  endeavor  the  whole  movement  takes  on  as  it  were  the  form  of 
a  thesis  farther  and  farther  spun  out ;  thus  the  need  of  an  antithesis 
is  felt,  and  interest  is  aroused.  Here  there  is  danger  of  going  too  far, 

*  SCHNYDER  VON  WARTENSEE  uses,  instead,  the  expression  "  Principal 
form  "  (Hauptform),  which  is  a  better  name,  seeing  that  the  application  of  this 
form  is  by  no  means  limited  to  the  Sonata.  The  name  "  Allegro-form,"  proposed 
by  some  theorists,  seems  objectionable,  as  this  form  is  not  necessarily  associated 
with  a  particular  tempo. 


158  THE   SONATA-FORM. 

of  being  too  lavish  with  the  means  of  climax,  of  losing  the  artistic 
presence  of  mind,  which  is  the  condition  of  intelligibility.  The 
means  of  avoiding  this  danger  are  the  clearly-marked  division  of  the 
form  into  sub-sections,  or  GROUPS,  the  systematic  modulation,  the  use 
of  such  cadences  as  will  not  stop  the  flow,  being  rhythmically  or 
tonally  apportioned  to  places  which  cannot  serve  for  a  complete  close. 

192.  The  Sonata-form  is  the  usual  form  of  the  first  (Allegro-) 
movement  of  the  Sonata,  Quartet,  Symphony,  and  kindred  species  of 
instrumental  music, — also  that  of  most  Finales  (last  movements)  of 
these  species,  as  of  Overtures,  lastly  of  numerous  compositions  in  slow 
tempo. 

193.  According  to  the  dimensions    a    distinction  is  made  of 
SONATINA  (small  Sonata-form),  SONATA,  and  GRAND  SONATA. 

We  shall  follow  up  this  chief  form  of  instrumental  music  from  the 
child-like  simplicity  of  a  Sonatina  by  KUHLAU  to  the  magnificent 
structure  of  a  BEETHOVENIAN  Symphony-movement. 


A.     THE     SONATINA. 


CHAPTER     XXXIII. 

FIRST    PART    OF    THE    SONATINA-FORM. 

194.  The  first  part  of  the  Sonatina-form  is  reducible  to  five  in- 
timately connected  divisions  or  groups,  varying  in  dimensions : 

(1)  Principal  subject,  or  First  Theme. 

(2)  Intermediate  Group,  or  Link-episode.* 

(3)  Secondary  Subject,  or  Second  Theme  (sometimes  called 

Song-group). 

(4)  Closing  Group. 

(5)  Coda. 

*  This  group,  as  leading  into  a  new  key  for  the  Second  Theme,  is  sometimes 
called  the  "Modulation -group."  Seeing,  however,  that  it  modulates  in  the  first 
part  only,  and  not  in  the  third  part,  this  designation  is  evidently  not  appropriate 
throughout  the  whole  of  the  first  movement  of  the  Sonata-form  except  in  this 

limited  sense  only. 


FIRST    PART   OF   THE   SOXATIXA-FOKA1.  159 

195.  These  five  divisions  may  be  reduced  to  tivo  larger  ones, 
constituting  duality,  viz : 

(1)  First  Theme  with  Intermediate  Group, 

(2)  Second  Theme  with  Closing  Group  and  Coda, 

by  reason  of  the  almost  equal  dimensions  of  the  two  divisions,  the 
modulation  which  at  the  second  theme  introduces  a  new  key  and 
retains  it,  and  the  importance  of  the  two  themes,  which  constitute  the 
essential  contrast  of  the  form. 

196.  If  we  class  the  Link-episode  with  the  first  theme,  to  which 
it  is  thematically  most  nearly  related,  and  the  Coda  with  the  Closing- 
group,  to  which  it  is  likewise  thematically  most  akin,  we  have  three 
divisions — triality,  of  which  the  Second  Theme  forms  the  middle 
one. 

197.  Just  so  naturally  the  four-fold  division — quaternity — results 
from  the  two  divisions  constituted  above  (Par.  195),  if  we  separate  the 
first  one  into  First  Theme  and  Link-episode,  the  second  into  Second 
Theme  and  Closing-Group  ivith  Coda. 

198.  The  FIRST  PART  of  the  Sonatina  comes  to  a  perfect  close, 
and  so  far  appears  independent, — but  closes  in  a  different  key  from  the 
original  one,  and  so  far  appears,  on  the  other  hand,  incomplete,  as  it 
were  a  larger  thesis  awaiting  its  antithesis. 

The  key  in  which  the  first  part  closes,  is 

in  major,  that  of  the  Dominant', 
in  minor,  the  parallel  major  key. 

The  first  part  of  the  Sonatina  is  generally  repeated,  this  repetition 
being  sometimes  introduced  by  a  connecting  link  attached  to  the  Coda 
and  leading  into  the  original  key  and  the  beginning. 

199.  Here  follows,  in  illustration,  the  first  part  of  a  piano-forte 
Sonata  by  KUHLAU,  written  for  the  instruction  of  children,  exemplify- 
ing this  form  within  the  smallest  limits  : 


1.  PRINCIPAL  SUBJECT  (First  Theme). 
Allegro. 


237. 

fen1 

-4^0-jr0 \-0-  ^-*H— j-«-J-* 1*-*-0— 1 1"  *  m* '•*- 

-0-  -0-  +  -0-  -0-  -0- 


160 


THE   SONATA-FOKM. 


*    £ 


2.  INTERMEDIATE  GROUP. 


C-major.          9 


8.  SBCONDABT  SUBJECT 


Modulation  into  the  Key  of  the  Dominant. 


14  G-major.  15 


16 


17 


=-=^ 


(Song-Gronp). 

-&=ir=r_ 

ffl 1 h 


IS 


19 


20 


z:  ^.  n K  ^._r:       f-r-f-      f-f-f-      t*J 

9:  =^— -b=^*=[:=E=^^TT=:t=:=h-M-=i^f  S1  !=" 


FIRST   PART  OF  THE  SONATINA-FORM. 
(Perf.  Cad.  in  G.) 


161 


23 


4.  CLOSINQ  GBOUP. 


CODA. 


•0-^&. 


CLOSE.    Transition  to  the  Bepeat  (Connecting-link). 


30 


31 


162  THE    SONATA-FORM. 

200.  The  five  divisions  of  this  little  model  Sonatina  show  the 
following  numerical  proportions,  which,  however,  are  of  course  not 
given  as  an  absolute  standard: 

(1)  Principal  Subject 8  measures  (4  +  4). 

(2)  Intermediate  Group.  .8          "  (4  x  2). 

(3)  Secondary  Subject. .  .8^-      "  (4  +  4~). 

(4)  Closing  Group 4          "  (2x2). 

(5)  Coda 2         "  (4  x  J). 

The  figures  in  parenthesis  show  that  the  variety  of  the  metrical 
construction  (measure-grouping)  lies  in  the  alternation  of  /owr-measure 
and  of  ^wo-measure  groups.  These  are  the  smallest  groups  that  can 
be  alternated. 

The  young  composer  should,  in  working,  constantly  aim  at  the 
variety  resulting  from  such  alternations. 

The  rhythmical  variety  lies  in  the  use  of  different  kinds  of  notes 
within  the  metrical  construction ;  here  also  belongs  the  difference  in 
the  points  of  entrance  within  the  measure, — for  example,  while  the 
first  theme  enters  on  the  first  quarter-note,  the  second  enters  on  the 
second  quarter-note  of  the  measure.  This  variety  too  is  here  attained 
with  the  simplest  means,  yet  in  a  perfectly  satisfactory  manner.  The 
young  composer  should  aim  at  this  variety  also,  but  with  the  same 
moderation  and  gradual  progression  as  here,  as  overloading  in  this 
respect  renders  a  piece  motley,  incoherent  and  tedious.* 

201.  The  structure  of  the  foregoing  model  composition  may  be 
variously  analyzed,  from  various  standpoints.     Thus,  the  piece  con- 
sists, 

in  duality,  of  16  +  15  measures. 

in  friality,  of  16  +  8^-  +  7  measures. 

in  quaternity,  of  8  +  8  +  8^  +  7  measures. 

202.  The  first   theme  (principal  subject)  forms  an  8-measure 
Thesis  (large  phrase,  see  Chap.  VII),  to  which  the  intermediate  group 
seems  at  first  to  afford  the  Antithesis ;  instead  of  which,  however,  it 
modulates,  with  the  first  motive  of  the  principal  subject — 

238. 


*  The  opposite  fault — rhythmical  sameness — makes  a  piece  stiff,  clumsy  and 

repulsive. 


FIRST    PART   OF   THE   SOXATIXA-FORM.  163 

in  four  2-measure  sections  into  6r-major  by  means  of  the  Dominant- 
septimachord  (measures  15  and  16)  of  that  key.  Herewith  its  dynamic 
effect  is  heightened  by  forte,  its  rhythm  by  the  triplet-figure  (measures 
13  to  16). 

203.  The  second  theme  (secondary  subject)  returns  to  the  quieter 
movement  in  eighths  and  to  piano.    Its  construction  is  that  of  an  in- 
dependent  tonic   double-phrase  (4  +  4)  (Par.  40),  approaching  the 
period-form  with  imperfect  authentic  cadence  in  the  Thesis  (Par.  26). 

204.  The  closing  group  has  the  form  of  a  double-section  (Par. 
12),  the  Coda  consists  of  four  half-measures. 

205.  In  the  last  three  divisions  the  forms  are  abbreviated  thus : 
8,  4  and  2  measures  ;  as  also  their  elements :  4  measures,  2  measures, 
half-measures. 

206.  The  ruling  key,  from  the  Secondary  Subject  on,  is  the  key 
of  the  DOMINANT. 

207.  The  intermediate  group  is  developed  from  a  motive  of  the 
first  theme,  here  by  transposition  (measures  11,  12),  change  of  mode 
(measures  13,  14),  and  modulation  (15, 16).     This  making  the  most 
of  a  part  of  a  theme  is  called  DEVELOPMENT,  or  THEMATIC  WORK. 
It  will  be  exhaustively  treated  in  the  proper  place,  in  its  connection 
with  the  so-called  DEVELOPMENT-PORTION  of  the  Sonata-form  (Chap- 
ters XLVIII,  XLIX). 

TWENTY-SECOND    EXEECISE. 

Compose,  according  to  the  directions  above  given,  first  parts  of 
SONATINAS  IN  MAJOR. 

[Take  KcHLAu's  Sonatina  as  model,  though  in  respect  to  the  length  and 
construction  of  the  separate  groups  it  need  not  be  followed  absolutely.  Thus,  for 
example,  the  first  Theme  may  be  tonicaUy  independent — not  a  Thesis,  and  more 
frequent  use  may  be  made  of  overlapping  (Chapter  XIV).  Former  exercises  may 
be  utilized.] 


164 


THE  SONATA-FOKM. 


CHAPTER    XXXIV. 

FIRST    PART    OF    THE    SONATINA    IN    MINOR. 

2O8.  If  the  Sonatina  is  in  MINOR,  the  Intermediate  Group  modu- 
lates into  the  parallel  major  key,  which  from  the  second  theme  up  to 
the  close  is  the  ruling  key. 

If,  for  instance,  our  model  Sonatina  (Fig.  237)  were  in  c-minor, 
the  Intermediate  Group  would  have  to  lead  into  ^|?-major,  thus: 


239. 


Z         ' 

n^ 

V-U      <* 

:ac           HEz 

r^=r^_^-F 


Second  Theme. 


etc. 


2O9.  A  very  concise  first  part  of  the  minor  Sonatina  is  found  in 
BEETHOVEN'S  (/-minor  Sonata,  Op.  49,  No.  1.  As  in  KTJHLAU'S  Sona- 
tina, so  here  the  principal  subject  forms  a  Thesis  with  Half-cadence. 

i  v 


240. 


4  Measures.- 


» 


£= 


?^^ 


FIKST   PART   OF  THE   SONATINA   IN   MINOR. 


165 


The  regularly  beginning  Antithesis  is  constructed  as  Intermediate 
&roup,  and  modulates  (in  the  manner  of  a  half-cadence)  into  the 
Dominant  of  the  parallel  key, 


241. 


Measures  1, 2, 3.  fp 


t 


a   a 


m 


Entrance  of  2d  Theme. 


1— I-H- 
-d-4- 


whereupon  the  second  Theme  (not  without  melodic  affinity  with  the 
first)  enters,  is  extended  to  over  9  measures,  then  repeats  the  last  5 
measures,  thus  seeming  disproportionately  long,  as  against  the  first 
Theme. 


Second  Theme. 


242. 


-I *- 


The  closing-group  also  borrows  its  matter  from  the  second  theme : 


bis. 


243. 


£^===  =S=n 


~£g 


There  is  no 


166  THE   SONATA-FORM. 

It  may  also  be  said,  however,  that  in  the  place  of  the  closing-group 
the  last  5  measures  of  the  second  theme  are  repeated  (especially  as 
these  form  an  independent  phrase),  and  that  the  5  measures  above 
designated  as  closing-group  may  be  considered  as  Coda.  The  scheme 
of  the  construction  will  then  be : 

Principal  Subject:  8  measures  (Thesis) 
Intermediate  Group :  7  measures  (Antithesis). 
Secondary  Subject :  9  measures. 
Closing-Group :  5  (taken  from  the  Secondary  Subject). 
Coda:  -~-5  (connecting  with  the  Secondary  Subject). 

So  considered,  the  form  is  better  adapted  as  a  model  for  the  young 
composer. 

TWENTY-THIRD    EXERCISE. 

Compose  first  parts  of  Sonatinas  in  minor. 


CHAPTER    XXXV. 

THIRD    PART    OF    THE    SONATINA    IN    MAJOR. 

210.  The  third  part  of  the  Sonatina-form  differs  from  the  first  in 
this,  that  all  the  groups  are  in  one  and  the  same — the  principal — key  ; 
otherwise,  it  is  constructed  just  like  the  first  part. 

Thus,  from  the  second  theme  on,  everything  is  to  be  transposed 
from  the  Dominant  to  the  Tonic  (either  a  Fourth  higher  or  a  Fifth 
lower,  as  the  esthetic  effect  may  require). 

211.  The  Intermediate  group  here  becomes  a  mere  episode,  no> 
modulation  being  now  required.     The  KUHLATJ  Sonatina  (Fig.  237) 
retains  this  episode  up  to  the  modulation  note  for  note,  and  then 
transposes  the  modulatory  measures  15  and  16  into  the  Tonic : 


— « f—t-f—    F-f—   f-i»—       — ^r- 


.  .  Second  Theme. 

*w  Jl  -t . 


THIRD   PART  OF   THE   SONATINA   IN   MAJOR.  167 

The  Coda  is  usually,  for  the  sake  of  a  more  decisive  close, 
somewhat  lengthened, — in  the  KUHLAU  Sonatina  by  two  (7-major 
chords. 

213.  The  third  part  is  thus  essentially  repetition  of  the  first, 
without  modulation,  hence  it  is  also  called  EEPRISE,  or  Repetition. 

214.  There  would  be  no  impropriety  in  beginning  work  on  a 
Sonatina  or  Sonata  with  the  composition  of  the  third  part,  subse- 
quently forming  from  this  the  first  part  by  working  over  the  episode 
between  the  two  themes  into  a  modulatory  group. 

TWENTY-FOURTH  EXERCISE. 

Compose  the  third  part  to  the  Sonatinas  written  for  the  twenty- 
second  exercise. 

215.  The  part  which  undergoes  the  most  substantial  alteration, 
even  to  the  loss  of  an  essential  characteristic,  is  undoubtedly  the  Inter- 
mediate Group,  in  so  far  as  it  has  in  the  first  part  the  significance  of 
modulatory  episode,   and  as   such  appears  at   present    superfluous. 
Nevertheless,  it  is  generally  retained,  shorn  of  its  modulatory  charac- 
ter, or  enriched  by  the  interpolation  of  some  opportune  modulation, 
in  order  not  to  disturb  the  metrical  proportion  of  the  parts,  which  is 
on  the  whole  more  important  for  the  form  than  the  modulatory  pro- 
portion.   In  the  models  thus  far  cited  the  Intermediate  Group  bor- 
rowed its  matter  from  the  principal  subject,  even  appeared  for  the 
most  part  as  its  Antithesis.     The  Intermediate  Group  is,  however,  not 
unfrequently  composed  of  new  motives,  especially  when  the  principal 
subject  is  tonically  independent,  and  consequently  does  not  at  once 
offer  to  the  Intermediate  Group  a  good  starting-point.     In  this  case 
its  absence  from  the  third  part  would  rob  the  latter  of  an  essential 
element  of  its  make-up. 


168 


THE  SONATA-FORM. 


CHAPTER    XXXVI. 

THIRD    PART    OF    THE    SONATINA    IN    MINOR. 

216.  In  minor,  the  third  part  holds  strictly  not  only  to  the 
principal  key,  but  also  to  the  ruling  mode.    The  second  theme,  and 
what  follows  it,  undergoes  therefore  a  much  more  substantial  variation 
than  in  the  Sonatina  in  major.     For  this  reason  the  procedure  men- 
tioned in  Par.  214 — that  of  composing  the  third  part  first — would  be 
still  more  advisable  in  the  minor  than  in  the  major  Sonatina, 

TWENTY-FIFTH    EXEECISE. 

Compose  third  parts  for  the  first  parts  of  minor  Sonatinas,  trans- 
posing from  the  parallel  to  the  tonic  minor  key. 

217.  In  MOZART'S  small  e-minor  Sonatina,  whose  principal  sub- 
ject, tonically  independent,  is  given  in  Fig.  49  a,  the  course  of  the 
third  part  is  as  follows: 

Intermediate  Group :  8  measures. 

=feE^ 


245. 


trr* 


-0 &• 


m 


Violino  simile. 


lFf=F 


THIRD   PART   OF  THE   SONATINA    IN   MINOR. 


169 


(This  group  is  to  be  considered  as  perfectly  independent,  even  though  the 
motive  with  which  it  is  entirely  taken  up,  is  drawn  from  the  principal  subject 
(Fig.  49  a,  measures  3  and  4).  Now  follows  in  the  prescribed  principal  key  and 
minor  mode  the  Secondary  Subject,  in  which  we  again  only  hint  at  the  imitation 
in  the  violin). 


Second  Theme :  8  measures. 


246. 


The  Closing-group  is  quite  short ; 


Ws 

_l|fL^*_ifL-  _«|  -  f-0-n  -  »i  -  r^— 

—  ^  —  4P—  «-  —  h*^  -  ^  —  F*  -  r&*  —  r  - 


247. 


it  is  followed  by  a  Coda  in  e-minor,  arpeggio,  three  measures. 

218.  In  the  first  part  of  this  Sonatina  we  find  the  Secondary 
Subject,  Closing-group  and  Coda,  according  to  rule,  in  the  parallel 
key — (r-major.  But  the  Intermediate  Group  does  not  there  modulate 
into  the  Dominant  of  Gf,  but  makes  a  half -close  in  e-minor,  exactly  as 
in  the  third  part  (Fig.  245). 

Doubtless  the  composer  deemed  the — technically  very  easy — modula- 
tion not  in  keeping  with  the  subject-matter,  esthetically  inadmissible. 

He  therefore  interpolated  in  the  first  part  between  the  minor  side 
— Principal  Subject  and  Intermediate  Group — and  the  major  side — 
Secondary  Subject  and  Close — an  episode  of  10  measures : 


170 


THE    SONATA-FORM. 


Additional  Intermediate  Group.    Violin, 
j 


248. 


*-|.B —  ^^~~ 

-f  # — M-H — I  J    I    \-& ^^ 

±==J^-J^J*  '  (9-Le—iE  S=E 


which  enters  at  once  in  (r-major  (the  brusqueness  of  this  modulation 
seemed  to  comport  with  the  character  of  the  work),  and  at  last  form- 
ing a  half-cadence  on  the  Dominant  of  G,  prepares  the  entrance  of 
the  second  theme. 

But  whence  comes  this  interpolated  episode  ?  The  first  measure  is 
the  contrary  motion  of  the  first  measure  of  the  principal  subject,  the 
subsequent  motives  are  taken  from  the  sixth  measure  of  the  same. 

This  episode,  which  in  the  first  part  accomplishes  what  the  preced- 
ing one  cannot  accomplish  here,  is  wanting,  accordingly,  in  the  third 
part.  But  it  is  to  be  regarded  in  the  first  part  as  an  anomaly,  a 
reminiscence  of  the  obsolete  custom  of  once  more  alluding  to  the- 
principal  theme  previously  to  the  second  theme.  But  perhaps 
MOZART  had  here  the  last  part  finished  first  in  his  mind. 

219.  It  sometimes  occurs,  and  is  not  considered  an  irregularity, 
that  in  the  third  part  the  key  is  not  changed,  but  only  the  mode,— 
for  example,  in  a  piece  in  g-minor,  in  the  third  part  the  secondary 
subject,  closing-group  and  Coda  are  put  in  (r-major.  The  close,  too, 
may  likewise  be  made  in  major,  or  it  may  be  led  back  to  minor. 


OMISSION   OF  THE   MODULATION   IN  THE   FIEST  PABT. 


171 


CHAPTER    XXXVII. 

OMISSION    OF    THE    MODULATION    IN    THE    FIRST    PART. 

22O.  In  major  Sonatinas  the  modulation  into  the  Dominant  is 
often  replaced  by  a  half-cadence  on  the  Dominant.  Thus,  for  instance, 
in  the  (r-major  Sonatina,  Op.  49,  BEETHOVEN  closes  in  the  Interme- 
diate Group  with  a  tolerably  broad  half-cadence  formula,  followed 
immediately  by  the  Secondary  Subject  in  the  key  of  the  Dominant : 

bis 


249. 


p     Second  Theme. 


*"T~-»r  _  «-h=P-»-»- 

^^       1^-         ^- 


-      '—  t 


MOZART  has  something  similar  in  the  Z)-major  Sonatina  for  four 
hands : 

simile.  I         V 


250. 


L=£ftf:fc£_-^^L 


=1= 


—        ^J  simile.  ^ 


172 


THE   SONATA-FOEM. 


221.  Even  in  larger  Sonatas,  which  by  reason  of  their  dimensions 
and  subject-matter  are  not  to  be  classed  among  Sonatinas,  this  easy 
way  of  introducing  the  new  key  is  occasionally  found.  In  MOZART'S 
ZMnajor  Sonata,  for  instance,  which  begins : 


251. 


' •  ' ?r-r  ~ 


the  second  theme  follows  the  Half-cadence  in  the  same  way : 

-^|g^ 


252. 


Second  Theme,  A-major. 


.  An  advantage  arising  from  this  method  is  that  in  the  third 
part  of  the  Sonata  the  principal  subject  and  intermediate  group  may 
be  kept  unchanged  (of  course  not  must}. 


TWENTY-SIXTH    EXERCISE. 

Change  in  this  way  some  previous  compositions. 


SECOND   PART  OF  THE  SONATINA-FOBM.  173 


CHAPTER    XXXVIII. 

SECOND  PART  OF  THE  SONATINA-FORM. 

223.  Between  the  two  parts  of  the  Sonatina  which  have  been 
thus  far  studied  enters  now  a  middle  member,  the  SECOND  PART. 
This  second  part  either 

(a)  is  concerned,  as  Development-portion,  with  constituent  elements 
of  the  first  part,  thus  serves  for  thematic  work  ;  or, 

(b)  brings  new  matter,  which,  however,  must  not  take  on  any 
complete  or  independent  form,  otherwise  it  would  pass  over  to  the 
Hondo-form ;  or,  finally, 

(c)  it  brings  somewhat  of  thematic  work  and  somewhat  ol  new 
matter. 

224:.  The  length  of  the  middle-group  greatly  varies.  In  some 
Sonatinas  it  is  limited  to  few  measures,  occasionally  merely  forming  a 
transitional  passage  into  the  repetition  ;  in  others  again  it  reaches 
nearly  the  length  of  the  first  part.  As  a  general  rule  for  the  beginner, 
the  middle-group  should  be  shorter  than  the  first  part  by  about  one- 
half,  at  the  least,  and  about  as  long,  at  the  most. 

TWENTY-SEVENTH    EXERCISE. 

Add,  accordingly,  to  the  Sonatinas  in  major  and  minor  hitherto 
composed,  middle-groups  (Development-portions,  so-called),  several  to 
each. 

Combine  the  most  successful  of  these  exercises  into  complete  Sona- 
tinas. 

225.  The  middle-group  of  the  Sonatina  forms,  together  with  the 
Reprise,  the  second  part  of  the  Sonatina,  which  second  part  is  in  many 
cases  repeated. 

We  will  now  study  some  model  Sonatinas. 

226.  In  BEETHOVEN'S   6r-major  Sonatina,  Op.  49,  the  Develop- 
ment-portion shows,  against  the  52  measures  of  the  first  part,  fourteen 
measures. 


174 


THE   SONATA-FORM. 
Thematic  elaboration  of  the  First  Theme. 


253. 


f         p  d-minor  to  a-minor. 


., 

f  a-minor  to  e-minor. 


Half-cad. 


Half-cadence  formula  on  the  Dominant  of  «-minor. 


The  first  six  measures  are  occupied  with  the  first  theme;  what 
follows  comprises  formulas  of  but  little  moment,  which  serve  no  pur- 
pose but  to  lead  back  to  the  Reprise  and  to  enhance,  by  their  own 
insignificance,  the  importance  of  the  principal  subject  which  now  re- 
enters. 


SECOND    PART   OF   THE   SONATINA-FORM. 


175 


227.  In  MOZART'S  e-minor  Sonatina  (see  Fig.  245),  over  against 
the  39  measures  of  the  first  and  29  of  the  third  part,  the  second  part 
shows  15  measures.  The  beginning  finds  its  starting-point  in  the 
principal  theme,  the  rest  is  free,  likewise  of  formular  character,  but  of 
greater  significance. 


254. 


* — * 


1      n 


calando. 


Transition. 


Reprise. 


a:I= 

^zbeN 


176 


THE   SOXATA-FORM. 


228.  Both  Sonatinas  therefore  show,  in   the   middle-group,  at 
least  thematic   reminiscence,  though   independent  construction  pre- 
dominates. 

229.  In  the  Development-portion  of  BEETHOVEN'S  ^r-minor  So- 
natina, on  the  contrary,  thematic  treatment  predominates.     The  very 
introduction,  a  modulation  into  ^i?-major,  starts  out  from  the  second 
theme  (see  Fig.  242) : 


255. 


Hereupon  follows  an  entirely  new  episode  of  a  2  x  4-measure 
phrase,  tonically  rounded  off  in  JS' 


256. 


etc. 


The  next  eighteen  measures,  however,  belong  thematically  to  the 
second  theme,  which,  itself,  as  we  have  seen  (Par.  209),  is  in  this 
composition  thematically  akin  to  the  first  theme. 

23O.  In  our  little  model  Sonatina  by  KUHLAU,  on  the  contrary, 
the  construction  is  perfectly  free.  Here  the  second  part  begins  with 
the  development  of  the  new  rhythmic  motive  — 


r 


borrowing  from  the  opening  only  the  unimportant  accompaniment- 
figure  in  the  left  hand  —  into  a  four-measure  phrase  ;  then  in  rhythmic 

variation  — 


r 


SECOND    PAKT   OF   THE   SOXATIXA-FOKM.  17? 

after  four  more  measures  a  so-called  deceptive  cadence  *  in  .ib-major, 
which  leads  to  a  half-cadence  on  the  dominant  (major)  of  c-minor, 
thence  in  commonplace  scale-passages,  etc.,  to  the  Eeprise.  These 
passages  may,  of  course,  be  regarded  as  thematically  akin  to  the  closing- 
group  and  Coda  of  the  first  part,  if  indeed  anything  so  commonplace 
and  insignificant  can  lay  claim  to  thematic  character.  This  insigni- 
ficance, commonplaceness  and  formularity  of  the  elaborations,  far  from 
being  a  reproach  to  the  compositions  here  cited,  which  are  all  perfect 
models  of  their  kind,  are  essential  characteristics  of  the  Sonatina,  in 
which  the  development-portion  should  not  have  a  detrimental  effect 
upon  the  repetition  of  the  themes  in  the  Reprise.  The  whole  develop- 
ment is  here  in  a  certain  sense  a  Cadenza  on  the  septimachord  leading 
from  the  dominant  to  the  tonic,  and  thus  the  dominant  harmony 
counterpoises  the  entirely  tonic  character  of  the  Reprise. 


*  This  term  for  a  progression  of  the  Dominant  Triad  or  Septimachord  to  an- 
other chord  than  the  expected  Tonic  harmony,  is,  as  LOBE  justly  observes,  inap- 
propriate, seeing  that  the  unexpected  chord  may  be  a  dissonance,  in  which  case 
there  is,  of  course,  no  Cadence  in  the  proper  sense,  nor  even  a  resolution  of  the 
Dominant  harmony.  In  the  interests  of  a  more  exact  musical  terminology  I  vent- 
ure to  make  this  proposition  :  Let  the  progression  of  the  Dominant  harmony  (a) 
to  that  of  the  Tonic  be  called  its  principal  resolution;  (b)  to  any  other  major  or 
minor  Triad,  a  secondary  resolution  ;  and  (c)  to  any  dissonance,  an  unexpected 
progression,  or  something  similar,  the  important  word  being  "  progression,"  as 
distinguished  from  "  resolution." 


178 


THE  SONATA-FORM. 


B.     THE     SONATA. 

231.  By  enlargement  of  the  parts,  and  consequently  of  the  whole, 
from  the  Sonatina  arises  the  SONATA.  The  proportion  between  the 
parts  remains  the  same,  in  respect  as  well  of  modulation  as  of  dimen- 
sions and  metrical  structure  in  general.  The  GRAND  SONATA,  too,  is 
nothing  more  than  a  Sonata,  of  unusually  great  dimensions. 


CHAPTER    XXXIX. 

ENLARGEMENT    OF    THE     PRINCIPAL    SUBJECT. 

(a)  BY  REPETITION. 

232.  If  the  principal  subject  is  of  considerable  significance,  espe- 
cially of  energetic  rhythmical  construction,  it  may  be  repeated,  the 
close  of  the  repetition  forming  at  the  same  time  the  starting-point  for 
what  follows.  For  example : 


Allegro  con  brio. 


257. 


This  noted  theme  from  BEETHOVEN'S  Sonata  (pathetique)  Op.  13, 
is  adapted  for  a  repetition,  on  account  of  the  forcible  contrast  between 
its  two  parts,  and  it  requires  this  repetition  because,  in  the  quick 
tempo  prescribed,  once  is  not  enough  to  make  the  proper  impression. 
But  in  repeating  it  makes  a  half-cadence,  and  this  is  the  starting-point 
for  the  intermediate  group  or  link-episode. 


ENLARGEMENT   OF   THE    PRINCIPAL   SUBJECT. 


179 


258.  ffiS 


!»  0- 


m 


In  the  .Z?|?-major  Sonata,  Op.  31,  the  principal  subject  is  repeated 
an  Octave  higher,  each  time  with  a  complete  close  in  the  tonic. 

(b)  BY  ADDITION. 

233.  The  principal  subject  may  be  enlarged  also  by  the  addition 
of  another  group,  forming,  so  to  speak,  an  af terlude,  coda  or  refrain 
to  the  first, — a  favorite  form  with  MOZART. 

In  the  JS'^-major  Symphony  of  this  master  the  principal  subject 
forms  the  following  14  +  14^—  measure  period,  here  given,  for  saving 
room,  in  the  most  meagre  melodic  abridgment : 


259. 


^ 


tFVT  t4-        '      ^rt-J: 


-zr  •       -+ 


MOZAKT. 


On  the  final  measure  (lacking  here)  of  this  tender  subject  now 
enters  a  fiery  forte,  after  the  manner  of  "Tutti,"  of  18  measures, 


180 


THE   SONATA-FORM. 


260. 


I    v  Jg 


i£ 


and  on  the  last  chord  of  which  the  intermediate  group  (modulatorj 
episode)  begins. 

The  8  measures,  too,  which  in  the  Pathetic  Sonata  follow  the  repe- 
tition of  the  principal  subject,  may  be  considered  as  added  to  the 
latter  as  a  kind  of  cadence-formula  (organ-point  ending  with  a  half- 
cadence),  so  that  in  this  case  we  have  both  repetition  and  addition. 

It  is  certain  that  in  the  e$-minor  Sonata  (Op.  27),  in  the  Finale, 
the  organ-point  on  the  Dominant — 


261. 


=£  j— H-JE^ 

jr— *     ^    -* — J— •t=^* ^    •    J* 


|=      =;ciiz=iz^— = == — T — (^ — 

"  '  •*  ~s 


ENLARGEMENT  OF   THE   PRINCIPAL   SUBJECT. 


181 


which  also  is  substantially  a  lengthened  half-cadence,  is  to  be  regarded 
as  an  addition  to  the  principal  subject.* 


Allegro. 


(Interpolated  Imitation,  see  Fig.  70.) 


Second  Subject. 


Coda. 


MOZAKT. 


234.  The  above  example  from  MOZART  is,  esthetically,  essentially 
distinguished  from  the  examples  first  cited  by  the  circumstance  that 
the  second  theme  is  followed  by  a  more  delicate  echo,  which  seems  to 
-die  away  entirely  in  the  Coda.    The  smaller  form  of  the  parts  implies 
the  proportionate  shortness  of  the  whole. 

By  a  kind  of  Prelude,  BEETHOVEN  enlarges  the  theme  of  the  great 
.Sb-major  Sonata,  Op.  106  (which  see). 

(c)  BY  PERIOD-FORMATION. 

235.  The  Period,  being  a  complete  musical  thought,  is  for  this 
reason  not  so  well  adapted  to  be  a  member  of  a  group  forming  a 
Sonata.     For  the  most  part  the  principal  subject  constitutes  only  the 
TJiesis  of  a  period,  to  which  is  joined — instead  of  the  Antithesis  and 
with  its  motives — the  intermediate  group  ;*  thus  the  latter,  instead  of 
closing  periodically  with  the  Thesis,  reaches  over  into  the  sphere  of 
another  key. 


*  We  have  here  an  example  of  those  original  and  energetic  cadence-formulas 
which  BEETHOVEN  substituted  for  the  trivial,  common-property  cadences  in  use 
before  his  time. 


182 


THE   SONATA-FORM. 


236.  Nevertheless  we  have  above  already  had  an  example  from 
MOZART,  in  which  a  long  period  united  with  another  thought  to  form 
a  principal  subject.  There  are  also  extended  periods  which  alone 
occupy  the  entire  space  of  the  principal  subject. 

We  give  here  two  examples,  one  from  BEETHOVEN  with  consider- 
ably shortened,  one  from  MOZART  with  considerably  lengthened  Anti- 
thesis, both  in  the  most  meagre  melodic  abridgment  only,  leaving  the 
filling  up  to  the  student's  memory. 


First  Theme.    4x2  measures,  quadruple  section. 


263. 


Second  Theme.    2x2+2x1  +  2. 


Close  of  Thesis.       Antithesis. 


2  x  (2x2) +4x1. 


The  thought  closing  in  the  8th  measure,  and  consisting  of  four 
dimeters  (forming  a  quadruple  section,  see  Par.  13),  is  here  followed 
by  a  second  thought,  without  any  thematic  relationship  to  the  first, 
but  forming  esthetically  a  most  decided  contrast  to  it,  and  ending 
with  a  half-cadence  ;  thus  we  have  a  16-measure  Thesis.  The  Anti- 
thesis, which  at  least  suggests  the  motive  of  the  first  Thesis,  consists 
of  only  2x4  measures  (double  phrase),  but  is  extended  by  a  small 
Coda  to  13  measures.  This  Coda  is  immediately  followed  by  the 
intermediate  group. 

2.37.  We  have  here,  moreover,  an  excellent  example  of  the  large 
Hirer-part  period  (Chapter  VIII),  which,  like  the  example  from 
MOZART  (Fig.  57),  has  two  Theses. 


ENLARGEMENT   OF   THE   PRINCIPAL   SUBJECT. 
Thesis.  — ^     . 


183 


264. 


I          —    ^          v~      m      - 

E5=S 


Viola.       simile. 


3 — i"7]    i  0  j — *    »  ~h~ 


Antithesis. 


J  J  ? 

* — •    ' 


^~^*-  ,-     ^  ^+-        Violino.^- — — ~^ 


Here  we  see  the  very  first  four  measures  ending  with  a  half-cadence, 
which  seems  to  characterize  them  as  Thesis  of  a  period.  The  con- 
tinuation, however,  does  not  take  period-shape,  but  again  makes  a 
half-cadence  (by  means  of  the  augmented  Sextachord).  Esthetically, 
too,  the  character  cf  Antithesis  is  wanting,  on  account  of  the  rhythm 
pressing  forward  as  it  does,  although  the  motives  thus  rhythmically 
enlivened  are  those  of  the  first  Thesis.  It  is  now  that  the  Antithesis 
proper  begins,  which  embraces  sixteen  measures  as  against  eight  of 


184 


THE   SONATA-FORM. 


the  Thesis.  The  enlargement  is  effected  through  the  agency  of  the 
motive  fa],  which  is  four  times  repeated  and  leads  to  a  thematically 
free  close. 

238.  By  means  of  the  shortening  and  lengthening  of  the  Anti- 
thesis, as  illustrated  in  the  foregoing  examples,  the  period  loses  that 
independent,  complete-in-itself  character  which  is  repugnant  to  the 
Sonata-form. 

239.  In  the  c-minor  Symphony  BEETHOVEN  constructs,  after  a 
5-measure  Introduction,  an  extended  Thesis  of  16  measures.     To  this 
corresponds — after  3  measures  of  introduction — an  Antithesis  of  20 
measures.    The  enlargement  by  4  measures  is  made  out  of  the  motive 
of  the  Thesis : 


265. 


which  in  the  Antithesis  is  transformed  and  developed  in  the  following 
manner : 


266 


Beginning  of  the 
Intermediate  Group. 


This  principal  subject  thus  exhibits  a  large  period,  embracing — 
not  counting  the  8  measures  of  introduction — 36  measures.  The 
close  of  this  period  is,  however,  by  means  of  the  division  and  the  im- 
petuous forward  movement  of  the  motives,  rhythmically  so  constructed 
that  the  period  does  not  seem  to  end,  but  to  incessantly  press  onward. 
The  greet f  art  in  the  Sonata-form  is,  in  fact,  to  avoid  CADENCES  by 
means  of  tlie  rhythmical  construction. 

24O.  There  are,  of  course,  other  ways  of  extending  the  principal 
subject.  To  find  these  in  the  works  of  the  masters,  and  to  imitate 
them,  will  be  easy  to  the  young  composer  who  has  carefully  attended 
to  the  foregoing  explanations. 

TWENTY-EIGHTH    EXEECISE. 

Compose,  accord  iiifi  fo  the  -methods  here  explained,  enlarged  principal 
jiuljert*  of  tlt><  Snnata-fnrm  up  to  the  entrance  of  the  Intermediate  Group. 
Fur  tliis  purj'0!<e  utilize,  ay  far  as  possible,  material  already  on  hand. 


ENLARGEMENT   OP   THE    PRINCIPAL   SUBJECT. 


185 


The  student  is  especially  cautioned  not  to  compose  these  exercises 
in  the  form  of  meagre  melodic  abridgment  (as  in  many  of  our  illustra- 
tions), afterwards  adding  the  harmonization, — but,  like  a  true  artist, 
to  have  constantly  in  his  mind  at  the  same  time  melody  and  harmony 
as  forming  a  whole,  as  also  the  presentation  of  his  ideas  by  means  of 
the  particular  instrument  (or  instruments)  which  he  chooses  for  the 
purpose. 

Here  follow  some  examples  from  BEETHOVEN,  given  in  their  en- 
tirety, in  order  to  stimulate  the  student's  imagination. 

MODELS. 
PRINCIPAL  SUBJECT,  .F-MAJOR  QUARTET,  OP.  18. 

Allegro  con  brio 


267. 


Thesis. 


1 ^^^ , ^^ 1 1-1 MBiBB^ i^ *-| 


gj^=l^=?3: 


I  I  '—  "^ 

^-»^»^»-^-T-1^-*-r^^-^*-|»-* 


_  —  -r—       ^-- 


••••    •••-  •-      ,—          •••- 


Per.  Tonic  Cadence. 

f— I— «"•  4*.^-'h"— .'- 


fc 


186  THE  SONATA-FORM. 

Coda  to  Antithesis,  quasi  3d  Antithesis. 


Per.  Tonic  Cad. 


r 

*— 1— 


PEINCIPAL  SUBJECT,  (7-MAJOR  QUARTET,  OP.  59. 

Allegro  vivace. 


268. 


iijfti*. 


ENLARGEMENT  OF  THE   PRINCIPAL  SUBJECT.  187 

cor  8 ... 


=EFj      =^=j=?=te==|y=  -=:jEEg:£= 


Sr  CT" 
/                                          Sl 

,=m^== 

f «H«— ^ -f- 


^ 


jn 


E^5= 

hp p=jt=zp=^rf 

C- M ^-^—\-\ 


HP--*-    .      .      -»-^ 

c\- 'I     •  »~m~~»~»~' 

a=g  Jj^j 


188 


THE   SOtfATA-FORM. 


PRINCIPAL  SUBJECT,  «-MINOR  (KREUTZER)  SONATA. 

Presto.  ^- — 


Violin. 


269. 


Pianoforte. 


sfp    Thesis,  9  measures  by  lengthening  the  close. 


^         575  &          « 

sfp 


gfciN^^^t-  -_JfP^^ 


sf     rail. 


Repetition. 


P 


-0—0- 
I         I 


-«—*—•*- 
t        t 


0—0-I--1 00-\  ~*—0 0 — t)H 


-J^z*. 


ENLARGEMENT  OF  THE  PRINCIPAL  SUBJECT. 


Antithesis,  &_  Measures. 


cn 


333 


^""Tlb*    "J'J"  lJ  jl~l.  IfaJ     ^f^f 


*f 


m 


^ 


3 

=fe 


fe 


PTnFT 


Coda,  2x8  Measures. 


^ 


190 


THE   SONATA-FORM. 
=?=§•-* t  * 


* 


=?=F 


•gtj^ptfcj 
*•     *  LJ 


zi^^^^^^EE 


:^rFF= 


THE   INTERMEDIATE    GROUP. 


191 


CHAPTER    XL. 

THE     INTERMEDIATE    GROUP. 

241.  The  Intermediate  Group  is,  as  we  have  seen,  in  the  first  part 
of  the  Sonatina-form  of  a  modulatory  character,  as  bringing  in  the 
new  key  (that  of  the  secondary  subject).  The  modulation  is  in  this 
case  of  a  more  or  less  radical  character. 

(a)  In  the  case  of  the  Sonatina  we  saw  (Chapter  XXXVII)  that 
the  secondary  subject  may  enter  in  its  new  key  (that  of  the  Dominant), 
without  previous  modulation  into  that  key,  i.  e.,  after  a  half-cadence 
on  the  Dominant.     This  seldom  occurs  in  the  larger  Sonata,  yet  it  is 
sometimes  found,  especially  in  MOZART.     In  this  case,  then,  the  easy 
task  of  the  intermediate  group  is  to  end  with  a  half-cadence. 

(b)  The  modulation  is  more  decisive  when  the  new  key  is  intro- 
duced by  means  of  its  dominant-septimachord  (as  in  KUHLAU'S  model 
Sonatina). 

(c)  But  the  most  decisive  and  most  usual  way,  in  large  Sonatas,  of 
introducing  the  new  key  (Dominant)  for  the  second  theme,  is  by 
means  of  the  dominant  of  the  dominant,  which,  for  want  of  a  better 
name  and  in  imitation  of  the  German  designation  (Wechseldominant) 
we  will  call  RECIPROCAL  DOMINANT.     To  change,  for  instance,  from 
(7-major  to  (r-major,  first  modulate  to  D-major,  then  back,  as  it  were, 
to  G-major.     Or,  to  go  from  a  minor  to  e-minor,  modulate  first  to 
J9-major  (dominant  of  e-minor).     To  go  from  c-minor  to  .fi'b-major, 
modulate  first  to  j5|?-major,  dominant  of  the  parallel  key. 

Thus  MOZART,  for  instance,  in  the  (/-minor  Symphony,  though  he 
has  already  reached  the  parallel  key,  yet  modulates  into  its  dominant 
before  bringing  in  the  secondary  subject  in  .Z?i?-major. 


270. 


193 


THE    SONATA-FORM. 


5.  A  method  occupying  middle  ground  between  the  last  two 
3  (b  and  c),  is  that  of  making  a  perfect  cadence  in  the  new  key, 


24:2.  A  method  occupying  middle  groum 
methods  (b  and  c),  is  that  of  making  a  perfect 
as  in  BEETHOVEN'S  D-major  Sonata,  Op.  10. 


271. 


243.  The  Intermediate  Group  itself,  in  its  enlarged  form  in  the 
Sonata  is,  as  to  its  construction,  either  (A)  thematically  borrowed  from 
the  principal  subject;  or  (B)  independent;  or  (C)  partly  borrowed, 
partly  independent. 

A. 

.£44.  The  intermediate  group  follows  the  principal  subject  as 
Antithesis  or  Repetition,  and  leads  its  motives  into  the  new  key. 

So  BEETHOVEX  in  the  Finale  of  the  c$-minor  Sonata,  where  the 
principal  subject,  as  Thesis,  closes  with  the  Coda  given  in  Fig.  261. 
The  Antithesis  now  seems  to  enter,  at  least  the  beginning  at  once 
re-appears : 


THE   INTERMEDIATE  GKOUP. 


193 


272. 


IF 
!  i  TT 


•tnti 


m 


But,  instead  of  returning  to  the  principal  key,  a  modulation  is  made 
with  the  chief  motive,  which  finally  puts  on  a  more  tender  form,  to 
the  key  of  the  dominant — ^-minor,  in  which  the  second  theme  at 
once  enters. 

6 
x6  5 

__       a _5 

273.  ESllfe 


245.  If  the  principal  subject  makes  a  tonic  close,  the  place  of  the 
Antithesis  is  taken  by  the  Repetition,  as  in  MOZART'S  a-minor  Sonata. 
The  principal  subject  is  an  8-measure  phrase,  on  the  last  measure  of 
which  the  repetition,  and  with  it  the  intermediate  group  enters. 


Repetition  and  Intermediate  Group. 


^^ 


^^ 


194 


THE   SON  ATA -FORM. 


Just  as,  in  the  example  from  BEETHOVEN,  the  modulatory  Anti- 
thesis was  preceded  by  a  cadence-formula  on  the  dominant  (Fig.  261), 
so  in  this  example  from  MOZART  the  repetition  is  followed  by  a  similar 
formula  on  the  dominant  of  the  new  key  just  reached. 

In  the  .E'b-major  Sonata,  Op.  31,  the  intermediate  group,  after 
the  repetition  of  the  principal  subject  (Par.  232),  sets  out  with  the 
chief  motive  of  the  latter,  finally  making  with  the  second  motive  the 
prescribed  modulation. 

B. 

246.  The  intermediate  group  is  constructed  from  independent 
motives.  It  is  thus,  for  instance,  in  MOZART'S  7?|?-major  Symphony. 
The  principal  subject  of  the  first  Allegro  (Figs..  259,  260)  is  imme- 
diately followed  by  the  intermediate  group  with  the  motive — 


275. 


etc. 


This  same  section  is  repeated  five  times,  modulating: 


establishes  itself  in  .P-major  on  an  organ-point, 

11 


etc. 


In  4  Octaves. 


THE    INTERMEDIATE   GKOUP. 

and  then,  with  an  entirely  new  motive, 


195 


278. 


, 

-j — i— i — — f — i       i  | 1 — H — 

I ^ ^ L-   ^^  I  I 

—    —    — —        -0- 


passes  into  jSb-major,  to  lead  into  the  secondary  subject. 

In  the  Don  Giovanni  overture  the  episode  between  the  principal 
and  the  secondary  subject  is  quite  independent. 

C. 

247.    The  intermediate  group  makes  the  principal  subject  its 
starting-point,  but  passes  on  to  independent  construction. 

In  MOZART'S  ^-minor  Symphony  the  chief  subject  takes  the  form 
of  an  enlarged  Thesis  of  16  measures.  This  is  followed  by  the  Anti- 
thesis : 


279. 


6 
5 

New  Thought  in  the 
Episode. 


Modulation  to  .Bb-major. 


Modulation  to  the  Dominant  of  the  parallel. 

ksz-  -«-        fea. 


^2. 


-    (Secondary 
I     Subject.) 


196  THE  SONATA-FORM. 

Here  we  see  the  episode  begin  as  Antithesis  and  pass  on  to  inde- 
pendent construction  before  leading  into  the  secondary  subject.  It  is 
remarkable  that  this  new  thought  is  already  in  the  key  (jB^-major)  of 
the  secondary  subject  and  yet  modulates  into  it.  MOZART  has  done 
precisely  the  same  thing  in  his  e-minor  Sonata  (Fig.  54  a). 


TWENTY-NINTH    EXEECISE. 

Add  to  the  principal  subjects  of  the  preceding  exercise,  according 
to  the  methods  here  laid  down,  episodes  leading,  in  either  one  of  the 
ways  mentioned  under  (B)  and  (C),  pp.  194,  195,  into  the  key  of  the 
second  theme. 


CHAPTER    XLI. 

THE     SECONDARY    SUBJECT    (SONG-GROUP). 

248.  The  second  theme  generally  forms  the  strongest  contrast  to 
the  first  which  is  found  in  the  whole  movement,  in  particular  it  takes 
on  a  more  songful  character  when  the  first  theme  was  very  profuse  in 
figuration.    In  other  respects  its  construction  shows  quite  as  much 
variety  as  that  of  the  first  theme,  or  even  more  may  be  allowed,  under 
the  stimulating  influence  of  the  preceding  development. 

249.  The  extent  of  the  secondary  subject  is,  as  a  rule,   some- 
what  greater  than    that  of  the  principal   subject   without  episode, 
but  considerably  less  than  that  of  the  principal  subject  with  episode. 
We  give  below  two  "  Secondary  Subjects  "  as  specimens  of  construc- 
tion. 

250.  The  secondary  subject  must  always  form  a  perfect  cadence 
in  its  principal  key,  which  is,  as  we  have  seen,  in  major,  that  of  the 
Dominant ;  in  minor,  the  parallel  (major),  or  the  minor  key  of  the 
Dominant. 

[The  student  should  analyze  the  first  movements  of  the  best-known  Sympho- 
nies, Sonatas,  and  Quartets  of  BEETHOVEN,  of  the  last  three  Symphonies  of 
MOZART  (fir-minor,  ^b-major,  (7-major),  and  of  the  other  sonata-form  compositions 
of  these  masters,  and  of  HAYDN,  with  a  view  to  studying  the  construction  of  the 
secondary  themes  and  their  relation  to  the  principal  themes.] 


THE    SECONDARY   SUBJECT. 


197 


BEETHOVEN.    FINALE  OF  THE  C$-MINOR  SONATA. 

Second  Theme.    g»#-minor. 
Allegro. 


280. 


MOZART.    FIRST  MOVEMENT  OP  THE  C-MINOR  SONATA. 
Second  Theme, 
Allegro. 


Motive. 


Free  contrary  motion. 


Tonic— Dominant. 


BEETHOVEN. 

m 


n  Jv  n  i  i      i       m          ~ 


Repetition,  enhanced  by  greater  sonority  and  by  figuration. 


MOZART. 


=P= 


Repetition:  Dominant- 


BEETHOVEN. 


Unexpected  progression 
New  Motive. 


Tonic. 


New  Motive. 


BEETHOVEN. 


Transposed. 


MOZART. 


Secondary  Cadence. 


198 


THE   SONATA-FORM. 


BEETHOVEN. 


Repetition,  tone-quality  different. 


I 


BEETHOVEN. 


MOZART. 


Secondary  Cadence. 


Subdominant. 


BEETHOVEN. 


BEETHOVEN. 


::£Eg=3r:F 


-j2_ 


MOZART. 


IX^I 


=t=t=z 


Close. 


Close. 


Wo  see  that  here  also,  and  even  more  decidedly  than  in  the  princi- 
pal subject,  both  great  masters  do  not  hold  fast  to  the  motives  of  the 
first  measures,  but  drop  them  after  one  repetition  and  pass  on  to  new 
motives.  But  the  theme  itself  makes  a  perfect  close. 


THE   SECONDARY   SUBJECT. 


199 


THIRTIETH    EXERCISE. 

Compose  the  Secondary  Subjects  to  the  previous  exercises.  Utilize, 
as  much  as  possible,  such  material  already  on  hand  as  is  suitable — not 
in  order  to  spare  the  exercise  of  the  imagination,  but  because  we  are 
concerned  here  with  formal  construction,  not  with  invention,  and 
taste,  not  genius,  is  being  cultivated. 

251.  An  example,  in  which  an  episode  (with  new  motives)  is 
interpolated  between  the  secondary  subject  (16-measure  period)  and 
the  subsequent  closing-group,  is  found  in  the  ^-major  Sonata  by 
MOZART,  the  principal  subject  of  which  is  given  in  Fig.  262. 


281. 


mE 

-*J    7    J'7    J' 

i     L7     L7   J^- 

EJ2 

^»  ^*      •»      ** 

•> 

f       f         *•      d- 

pv« 

i 

1          p 

^-'fr- 

,                \ 

etc. 


252.  Still  more  notable  is  the  episode  interpolated,  in  the 
KREUTZER  Sonata,  between  the  second  theme  and  the  closing-group, 
which  once  more  goes  through  the  whole  modulation.  In  the  former 
case  it  is  admissible  to  regard  the  new  episode  as  a  quite  special  kind 
of  Thesis  of  the  closing-group ;  in  the  latter  case  the  assumption  of  a 
special  kind  of  Antithesis  to  the  second  theme,  instead  of  a  second 
episode,  is  conceivable. 


200 


THE   SONATA-FORM. 


CHAPTER    XLII. 

THE     CLOSING-GROUP. 

253.  Esthetically,  the  closing-group  has,  as  a  rule,  somewhat  of 
the  character  of  the  principal  subject,  especially  when  the  latter  was 
of  a  rather  lively  figuration.    Its  dimensions  are  such  as  to  pretty 
nearly  sustain  the  equilibrium  in  the  duality  (Par.  195)  of  the  first 
part  of  the  Sonata-form. 

254.  Technically,  the  character  of  the  closing-group  is  on  the 
whole  that  of  a  prolonged  cadence-formula  on  a  melodic  motive.    The 
closing-group  is  sometimes  repeated,  sometimes  composed  of  several 
different  motives. 

The  model  for  this  part  of  the  Sonata-form  is  the  closing-group  of 
BEETHOVEN'S  fjf-minor  Sonata.  It  follows  immediately  after  the 
second  theme  and  is  climacterically  repeated. 


282. 


5 — 5 — a a » — » « — ii* — * — — \— H 

^ 


=tfe=** 


Repeated  with 
longer  Close. 


3E 


£ 


The  closing-group  in  MOZART'S  ^-minor  Symphony  is  composite, 
and  shows  three  divisions : 


THE   CLOSING   GROUP. 


201 


J. 


A 


^-£l£,f  rf-r 

5> ' V 1- V  •  1-        I/1 


Third. 


^£ 


Coda  follows. 


255.  Sometimes  the  closing-group  seems  to  be  only  a  Coda  to  the 
secondary  subject,  as  in  BEETHOVEN'S  e-minor  Sonata. 


284. 


*f 


,•  ±t-l- 

^p 


dim. 


PP 


202 


THE  SONATA-FOBM. 


CHAPTER    XLIII. 

THE     CODA. 

256.  The  Coda,  already  known  to  us  as  fifth  part  of  the  Sonatina- 
form,  is  sometimes  limited  in  the  Sonata-form  also  to  a  few  chords, 
yet  it  occasionally  has  also  larger  dimensions,  and  even  is  composite. 
A  model,  for  clear  separation  of  the  parts  and  normal  structure  of 
them,  is  here  again  the  cjjl-minor  Sonata,  in  which  the  closing-group 
given  in  Fig.  282  is  followed  by  this  thought  as  Coda  (Construction : 
2x2  +  2x1): 


285. 


^  _^_      — g — 


An  example  of  a  Coda  consisting  of  two  different  parts  is  found  in 
MOZART'S  .F-major  Sonata  (Fig.  262) : 


286. 


THE   CODA. 


20S 


-* f- 


Here  are  some  examples  of  usual  construction 

BEETHOVEN.    C-MINOB  STMPHONT. 


287. 


5±TX= 


w% 


:  .*.  •*«• :  *  ^ :  IF 

£:^P==Pf=5=Rfc5q==^P=H 


=t= 


MOZART.    (/-MINOR  SYMPHONY. 


288. 


^t 


204 


THE   SONATA-FORM. 


BEETHOVEN'S  e-minor  Sonata,  Op.  90,  has  only  two  chords  as 
Coda, — they  follow  what  is  given  in  Fig.  284.  Exceptionally  (very 
rarely)  the  Coda  is  altogether  wanting. 


CHAPTER    XLIV. 

THE     CONNECTING     LINK. 

257.  In  the  Sonatina  we  have  seen,  that  for  leading  into  the  repe- 
tition or  continuation  a  connecting  link  follows  mediately  or  imme- 
diately the  close  of  the  first  part  (see  Fig.  237).  The  necessity  for 
such  a  link  arises  from  the  relation  of  the  close  to  the  repetition  (or, 
as  the  case  may  be,  to  the  continuation  into  the  second  part). 

Thus  MOZART  in  the  e-minor  Sonata  (Fig.  54)  utilizes  for  both 
purposes  the  figure  borrowed  from  the  principal  subject : 


289. 


i* 


[The  first  time  repetition  follows,  the  3d  time  development.] 

To  the  Coda  in  the  Finale  of  the  eft-minor  Sonata  (Fig.  285) 
BEETHOVEN  appends  the  following  link : 


290. 


The  Repetition 
here  begins. 


This  way  of  constructing  the  connecting  link,  viz:  out  of  motives 
of  the  principal  subject,  is,  especially  with  BEETHOVEN  and  his  suc- 
cessors, very  frequent,  almost  the  usual  practice. 


THE  CONNECTING  LINK. 


205 


In  the  e-minor  Sonata  for  piano  and  violin  MOZAKT    uses  as 
connecting-link  even  a  Canon  formed  from  the  principal  theme : 

Played  in  Octaves. 


291. 


m 


IS 


(See  Fig.  87  a J 


which,  in  the  third  part,  is  thus  repeated  in  the  principal  key : 

^-^m-r '    ff 


292. 


THIRTY-FIRST    EXERCISE. 

Complete  the  Sonata  movements  already  begun  by  adding  closing- 
group  and  Coda;  also,  as  may  be  required,  connecting-linTc  for  the 
repetition. 

[By  means  of  the  exercises  of  this  Part  the  student  must  have  composed 
many  first  part  of  the  Sonata-form.  We  now  proceed  to  the  easy  work  of  con 
structing  the  tliird  part  (Reprise).] 


306 


THE   SONATA-FORM. 


CHAPTER    XLV. 

THIRD    PART    OF    THE     SONATA-FORM. 

258.  The  third  part  is  formed  from  the  first  by  avoiding  the 
change  of  key.     The  process  of  construction  is  just  as  in  the  case  of 
the  Sonatina.     The  groups  maintain  on  the  whole  the  same  dimen- 
sions, though  abbreviations  and  extensions  in  particular  cases  are,  of 
course,  not  excluded. 

259.  On  account  of  the  omission  of  the  modulation  the  interme- 
diate group  between  the  first  and  the  second  theme  may,  strictly 
speaking,  be  dispensed  with,   as  indeed  is  sometimes  done  in   the 
Reprise.     Thus,  for  instance,  the  c^-minor  Sonata  in  the  third  part 
closes  the  principal  subject  exactly  as  in  the  first,  viz:  on  a  half- 
cadence  with  organ-point  and  pause  ;  but  then — skipping  the  inter- 
mediate group — at  once  enters  upon  the  secondary  subject, — 


293- 


after  which  everything  follows  the  regular  course. 

In  the  f7-minor  Sonata,  Op.  31,  also,  in  the  third  part,  the  inter- 
mediate group  of  the  first  part  is  altogether  wanting;  it  had,  however, 
in  the  development-portion  (second  part),  or  rather  as  development, 
already  been  repeated  entire. 

26O.  As  a  rule,  on  the  other  hand,  the  intermediate  group  is 
retained  by  the  great  masters  of  the  Sonata-form,  and  often  exploited 
for  thematic  work,  and  then  sometimes  even  enlarged. 

MOZART,  in  his  later  works,  is  fond  of  treatment  of  this  kind,  as, 
for  instance,  in  the  g-miuor  Symphony,  where  the  characteristic  motive 
of  the  intermediate  group  [  a  |  - 


294. 


THIRD   PART   OF   THE   SONATA-FORM. 


207 


m 


(See  Fig.  279.) 


is  in  an  interesting  manner  harmonically  and  contrapuntally  developed, 
and,  as  against  the  first  part,  lengthened  by  21  measures.  In  the  cele- 
brated Finale,  fugued  in  quadruple  counterpoint,  of  the  great  (7-major 
Symphony,  he  uses  this  place  for  an  equally  interesting  Stretto  through 
the  circle  of  Fourths. 


295. 


Ccunterpointed  with  two  other  motives. 


fl6 


208 


THE  SONATA-FOKM. 


bo  a 
§  g 

<-!       O 


c/2      C  55 

O      fl  PH 

§  >,  a 

_— !     o  i~i 

13  w 

"a  s  o 

'^  'is  -^ 


H    ,0    eg 

«    ^     a 

3    %    o 


o    o> 

^3   -C 


^  si 

O     O    ^03 


O  O      nj 

?H  .         I        y   ) 

rt  o     ^ 

-G  o    bo 

^  2  § 

O  ^    i--< 

-u  22    o> 

55  w 

^PrS 
O 

TI 


4lllk 


•B. 

(: 


•fl 


%%L. 

b»w-i 


i«L... 


^ 


^   M  &     5  j 
;  o     CQ 


!i- 


^ 


41 

441J 


PH 


> 


ST1 


1H 


>  I  «P 


il_L 

ff] 


'"-r" 


K.='    a 


cM^__IS^ 


MODULATORY   LICENSE. 


209 


This  procedure  is  recommended  to  the  young  composer  also.  He 
should  retain  the  intermediate  group,  judiciously  enlarging  and 
enriching  it. 

THIBTY-SECOND    EXEECISE. 

Compose,  accordingly,  the  third  part  of  Sonatas  already  written. 


CHAPTER     XLVI. 

MODULATORY    LICENSE. 

261.  In  Sonatas  in  minor  whose  second  theme,  with  the  subse- 
quent closing-group  and  Coda,  will  not  bear  transposition  into  the 
minor  mode,  the  major  mode  of  the  principal  key  is  substituted.  This 
modulatory  license  is  found  in  many  compositions  by  HAYDN,  but  a 
striking  example  of  it  is  seen  in  BEETHOVEN'S  c-minor  Symphony. 
Here  the  second  theme — 


297. 


, .       I     j      I       I 

fe — j-ih-j^fcc*: 
!fc^=H^5g 


i  J    JJ 
45|| 


I 


r  r 


would  not  allow  transposition  into  minor,  as  it  would  thereby  entirely 
lose  its  character ;  it  therefore  now  appears  in  the  major  mode  of  the 
principal  key — C: 


298. 


etc. 


210 


THE   SONATA-FORM. 


in  which  the  closing-group  also  then  follows,  whose  triumphant  fiery 
character  is  likewise  repugnant  to  the  minor  mode : 


That  the  movement,  notwithstanding,  closes  in  minor,  will  be 
accounted  for  farther  on  (see  Par.  283). 


CHAPTER    XLVII. 

MODIFICATIONS    OF    PARTICULAR    GROUPS    IN    THE 
THIRD    PART. 

A.     MODIFICATIONS  OF  THE  PBINCIPAL  THEME. 

262.  In  the  ^-minor  Sonata  BEETHOVEN  shortens  the  first  theme 
by  the  greater  part  of  its  figurate  matter,  while  he  lengthens  it  by  two 

Largo-recitatives : 


300. 


Largo.  ^^^^^ 

1 


It? 


'i* 


i 


Allegro. 


MODIFICATIONS   OF   PARTICULAR   GROUPS. 


211 


Adagio.  Largo. 

:q^dfc3 

•d&bfag 


pp 


w 


:p=:r 


t 


^^ 


He  then,  with  a  few  measures  of  modulation, 


$5- 


*  "  I    - 


•etc. 


passes  on,  omitting  the  intermediate  group,  to  the  second  theme, 
which  now  appears  in  d-minor. 


~  "*" 


302. 


"        "  •?- 


etc. 


afc-tat 


212 


THE  SONATA-FORM. 


In  the  Pathetic  Sonata  he  forms  from  the  second  part  of  the  first 
theme  a  modulatory  group, 


303. 


^F^ — Tfi^rg11^ — JH :=zi- 

\^        i    ^^         l>^    |»     ^.   q, 


eimile  sempre. 


etc. 


HTTII58Z 

2~i& 


m 


which  here  takes  the  place  of  the  intermediate  group  of  the  first  part. 


B.    MODIFICATIONS  OF  THE  INTERMEDIATE  GROUP. 

263.  The  Intermediate  Group  is  sometimes  itself  transposed,  in 
order  to  remain  unaltered.     Thus,  for  instance,  in  the  first  movement 
of  MOZART'S  .Z^-major  Symphony,  the  first  theme  is  led  in  the  third 
part  to  a  close  in  the  Subdominant,  in  order  that  the  unaltered  inter- 
mediate group  may  close  in  the  Tonic.      (Tonic  to  Subdominant^ 
equivalent  to  Dominant  to  Tonic). 

C.    MODIFICATIONS  OF  THE  SECONDARY  SUBJECT. 

264.  The  Secondary  Subject  appears,  in  the  Pathetic  Sonata,  at 
first  in  the  key  of  the  Subdominant,  and  not  till  thirteen  measures 
later  in  that  of  the  Tonic. 


304. 


•f 


*f 


THE   DEVELOPMENT-PORTION. 


213 


IA/IJ   1  9LJ   f   f:j 

Jt  

.  nr 

.  |        ,_ 

•^ 

-fi—  b  ^  1  1  h 

*f 

.,' 

etc. 

aESI  —  fr— 

u*~ 

±: 

fctb    i      *    ^    ^... 

• 

^  : 

,  . 

We  observe,  in  passing,  that  this  theme  in  the  first  part  does  not 
enter  in  the  (regular)  major  key — Eb,  but  in  the  liomonymic  minor 
ken — e[?,  and  makes  only  its  dose  in  major. 

D.    MODIFICATIONS  OF  CLOSING-GROUP  AND  CODA. 

265.  The  Closing-group  and  Coda  are,  for  the  sake  of  a  more 
decided  close,  often  modified  by  an  extension,  which  is  sometimes 
shorter,  sometimes  longer,  and  exceptionally  attains  the  proportions 
of  a  quite  new  and  comprehensive  part  of  the  close.  Illustrations  of 
this  are  found  in  BEETHOVEN'S  "Eroica"  and  Ninth  Symphonies. 


CHAPTER    XLVIII. 

THE     DEVELOPMENT-PORTION. 

266.  The  development-portion  of  the  large  Sonata  should  occupy 
itself  exclusively,  or  almost  exclusively,  with  the  themes  and  motives 
of  the  first  part ;  where  it  does  not,  its  contents  are  not  up  to  the 
requirements  of  the  large  Sonata-form,  and  this  form  loses  somewhat 
of  its  importance. 

267.  In  the  master-pieces  of  MOZART  and  HAYDN  the  develop- 


214  THE  SONATA-FORM. 

ment  is  for  the  most  part  considerably  shorter  than  the  two  other 
parts,  say  about  half  as  long,  while  in  BEETHOVEN'S  works  it  attains 
to  the  dimensions  of  the  other  parts,  sometimes  even  is  longer.  This 
is  explained  by  the  fact  that  BEETHOVEN'S  genius  found  its  greatest 
resource  in  THEMATIC  WORK,  whilst  the  two  masters  first  named  occu- 
pied themselves  more  with  the  technical  construction  of  the  whole. 

THEMATIC  WORK. 

268.  The  expression  "  thematic  work  "  embraces  everything  that 
can  possibly  be  made  out  of  a  theme,  by  harmonization,  figuration, 
variation,  counterpoint,  instrumentation,  in  the  broadest  sense  of  each 
of  these  terms. 

269.  In  the  works  of  the  classical  masters  of  our  instrumental 
music  the  employment  of  counterpoint  *  is  limited,  as  a  rule,  to  imi- 
tation, the  fugue  and  the  canon  being  only  exceptionally  introduced.! 
Thus  MOZART,  in  the  "  Magic  Flute "  overture,  and  BEETHOVEN,  in 
the  overture   "The   Consecration  of  the   House,"  touch   upon  the 
fugue-form  ;  the  latter  composer,  in  the  c-minor  Sonata  for  violin  and 
piano,  upon   the   canon.      The    finale  of   MOZART'S   great    C-major 
Symphony  is  based  even  on  a  quadruple  counterpoint,  and  BEETHO- 
VEN'S Symphonies  and  other  instrumental  works  exhibit  small  canons. 
Yet  these  are,  in  proportion  to  the  majority  of  the  works,  only  excep- 
tions ;  exceptions  which  show  how  far  thematic  work  can  go  in  this 
direction  when  it  is  requisite,  and  how  completely  the  composer 
should  be  equipped  for  every  emergency. 


CHAPTER    XLIX. 

THEMATIC    WORK    IN    THE    DEVELOPMENT-PORTION. 

27O.    In   the  development-portion   the  thematic  work  must  be 

clone  according  to  system,  not  capriciously  springing  from  one  thought 
to  another  without  any  method. 

*  Excepting,  of  course,  in  those  works  which  are  professedly  written  in  contra- 
puntal style  throughout,  such  as  independent  fugues,  canons,  etc.,  with  which  we 
are  here  not  directly  concerned. 

*  In  BKKTHOVEX'S  .1 -major  Sonata  the  whole  development-portion  takes  the 
form  of  a  fugue,  whose  subject  is  drawn  from  the  first  theme. 


THEMATIC   WORK   IN  THE   DEVELOPMENT-PORTION. 


215 


271.  The  special  difficulty  of  the  development  is  that  it  begins 
modulating  in  the  key  in  which  it  has  to  end,  viz. :  that  of  the  Domi- 
nant. To  obviate  this  difficulty  and  gain  room  for  the  modulation, 
the  masters  occasionally  open  the  development-portion  with  a  modula- 
tion into  a  remote  key.  MOZART,  in  the  first  movement  of  the  C^-major 
Symphony,  modulates  directly  into  J^b-major,  and  that  in  unisono: 


805. 


and,  in  the  #-minor  Symphony,  with  a  few  chords  from  .Sjj-major 
(parallel  key)  into  /JJ-minor : 


306. 


,.          ,  r--^-T--r 

-  --     -        - 


BEETHOVEN,  in  the  Z)-major  Sonata,  Op.  10,  begins  the  develop- 
ment in  ,6|?-major : 


307. 


g=Ti2s=3=^=j=ri_j_j 


•zr 


MENDELSSOHN,  in  the  «-minor  Symphony,  introduces  the  second 
part  (development)  in  a  manner  as  original  as  it  is  charming,  by 
letting  the  tonic  of  c-minor,  with  which  the  first  part  ends,  remain, 
and  the  horns  sound  against  it  the  major  Fifth  c§ — g%,  with  doubling 
in  the  Octave. 


308. 


__xi 


-    *^-.      T    W. 

^_jl^q 
z=3E^ 

:^Jzl3^_lr 

216  THE   SONATA-FORM. 

If  this  e  were  tonic  of  E-major,  the  entrance  of  the  eft-minor  Triad 
would  be  quite  commonplace  and  without  effect. 

272.  The  principal  rides  for  the  development  are  these:    One 
should  not  take  up  a  motive,  not  knowing  what  to  do  with  it ;  nor 
should  a  motive  be  given  up  till  it  has  been  thoroughly  exploited.     A 
motive,  once  abandoned,  should  not  be  resumed,  unless,  by  means  of 
contrast  or  climax,  with  greatly  heightened  effect. 

273.  In  the  modulation  there  should  be  order,  not  purposeless 
wandering  from  one  key  to  another ;  especially,  pains  should  be  taken 
to  avoid  the  key  of  the  Dominant  (of  the  principal  key)  before  the 
end  of  the  development.     The  close  of  the  development  is  preemi- 
nently suitable  for  an  organ-point  on  the  Dominant. 

274.  The  syntax  (so  to  speak)  of  the  development-portion  should 
be  according  to  strict  form,  as  in  the  other  parts ;  here,  however,  the 
smaller  forms  predominate,  and  their  construction  is  quite  independent 
of  any  tonic,  this  being  the  place  for  free  modulation. 

275.  A  sequence-like  repetition  of  smaller  groups  may  easily 
appear  trifling  or  pedantic  (of  course,  however,  much  depends  on  the 
kind  of  sequence  *). 

276.  On  the  other  hand,  the  repetition  of  large  and  very  artistic- 
ally elaborated   groups,  in   another   key,    perhaps  also  with   slight 
variations,  is  of  decided  advantage   to  the  development-portion,  as 
promoting  the  greater  clearness  of  its  form.    Examples  are  found  in 
BEETHOVEX'S  great  Symphonies,  especially  in  the  first  movement  of 
the  Ninth. 

277.  There   is   no   symphonic   movement  which  illustrates  the 
exploitation  of  the  elements  of  the  Sonata-form  in  a  more  succinct 
and  striking  manner  than  does  the  first  movement  of  the  c-minor 
Symphony.     Of  the  motives  of  the  first  part  the  following  are  em- 
ployed in  it  for  development:  the  chief  motive: 


309. 

the  thcmaticallv  allied  motive: 


*  In  WAGNER'S  works  are  harmonic  sequences  which  are  surely  anything  but 

dry  and  pedantic. 


THEMATIC   WORK   IN   THE   DEVELOPMENT-PORTION.  217 

the  first  half  of  the  same : 


the  enlargement  of  the  chief  motive : 


±—fi—t- 


a- 


the  2d  and  3d  measures  of  the  same : 

lastly,  this  abbreviation 


of  the  chief  motive.  The  following  is  the  scheme  of  the  development: 
motive  a  forms  the  introduction  (measures  1 — 4)  and  double-phrase 
in  /-minor  (5 — 13);  motive  b  appears  twice  (13 — 18);  motive  c 
modulates  (18 — 21)  from  /-minor  into  the  (major)  dominant  of 
€-minor,  with  the  counterpoint — 


here  a  half-cadence  formula  (22 — 25),  then  to  the  dominant  of  ^-minor 
(25 — 29)  ;  half-cadence  formula  (30 — 33) ;  then,  in  direct  and  contrary 
motion 


of  (/-minor.     Here, 


(34  —  44)  to  the  diminished  septimachord  on 
chief  motive  a  enlarged: 


-j7  —  f~*~i*~~Ti*'~r~r~r  — 


twice  (44  —  51)  ;  the  same  motive  in  its  original  rhythm,  once  (51  — 
52);  ditto,  abbreviated  (motive  f),  twice  (53  —  55);  motive  d  alternat- 
ing with  f  (55—68);  motive  f  (68—71);  motive  e  (72—85);  ditto, 
with  modification  of  pitch  (86—103);  motive  d  (104—108);  motive 
e,  as  merely  alternation  of  two  half-notes  (109  —  116);  motive  a, 
partly  entire,  partly  shortened  (116  —  124),  leads  into  the  introduction 
(124  —  128)  ;  at  measure  129  the  Reprise  begins. 


218 


THE   SONATA-FORM. 


278.  MOZART,  in  the  (7-major  Symphony,  No.  1,  introduces  the 
development  with  the  unisono  change  to  ^(?-major  given  in  Fig.  305, 
and  repeats  the  closing-group  in  this  key.  To  the  last  motive  of  the 
closing-group, 


310. 


he  appends  a  modulation,  transferring  the  motive  from  the  flute  and 
bassoon  to  the  violins;  then,  alternating  between  first  and  second 
violins  and  basses  together  with  viola,  leads,  with  the  contrasting 
rhythms 


into  (/-minor.  Here  he  constructs  a  two-voiced  free  canon  between 
violins  and  basses  upon  the  first  half  of  the  motive,  with  temporary 
modification  of  it : 


again  closes  in  ^r-minor,  and  in  the  last  measure  brings  in  the  length- 
ened closiug-motive>  as  it  appeared  at  first : 

L_=^ I i      L_^MMM^HL— L^^^^0tf*T__U.OJ_L_r_. i_j ^_    • ^^^^^^^1        Mi         L          m     i I 


this  is  followed  by  an  imitation  of  the  last  measure,  forming  a  half- 
cadence  on  the  major  Dominant  of  a-minor.  This  dominant  is 
changed,  by  the  progression  of  the  lower  voices,  into  the  dominant  of 
f-mnjor  : 


IV-.-f^ <£g£ 

-h-S»— •- 1 — h— »-+—  •„— T- •=P-i- 


—  fuw^^- H* 

=& 


THEMATIC   WORK   IN   THE    DEVELOPMENT-PORTION. 


219 


Thus  far,  therefore,  the  development  is  occupied  exclusively  with 
the  closing-group  of  the  first  part,  principally  with  its  last  motive. 
The  first  theme  now  enters  in  ^-major,  and  modulates,  with  the 
counterpoint  which  it  already  had  in  the  first  part;  into  a-minor,  and 
forms  here  with  its  first  motive  a  group — strongly  syncopated  by  the 
full  orchestra  against  the  first  and  second  violins — 


of  10  measures,  which  closes  in  6r-major.    Hereupon  repetition  of  the 
close  in  piano  with  the  motive  of  the  closing-group  : 


=s= 


Then  6  measures  of  organ-point  on  g,  as  dominant  of  the  principal 
key,  with  the  same  motive  of  the  closing-group  and  with  a  little 
canon  : 


Oboe. 


Bassoon. 


-    •*•»•*-   £•     •      t1  *-   +•    •»-     m     -f-     . 


leading  into  the  Reprise.     In  this  development,  therefore,  the  one  mo- 
tive of  the  closing-group  predominates  throughout,  it  forms  the  first 


220  THE   SONATA-FORM. 

modulatory  group  and  the  close,  and  in  doing  this  it  twice  involves  the 
measure  which  originally  preceded  it.  Between  these  two  formations 
lies  the  elaboration  of  the  first  theme,  especially  of  its  first  motive. 
The  modulation  leads  on  the  one  side  to  jE'b-major,  /-minor,  on  the 
other  to  a-minor,  E-msijor,  thus  moves  in  seven  or  eight  places  of  the 
circle  of  Fifths  (Quint-circle). 

THIETY-THIED    EXERCISE. 

Compose  developments  for  former  exercises,  first  after  the  two  models 
given,  then  after  a  well-considered  plan  of  your  own. 


CHAPTER    L. 

THE    SONATA-FORM    AS    A    WHOLE. 

279.  The  main  purpose  of  this  work  having  been  accomplished  in 
the  production  of  complete  Sonata-movements,  it  seems  to  be  time  to 
call  attention  to  the  licenses  which  the  masters  have  taken  in  using 
this  chief  form  of  all  instrumental  music,  without  abrogating  any  of 
its  essential  conditions.     We  shall  moreover  notice  those  modifications 
of  the  form  which  arise  from  connection  with  other  movements,  and 
finally  consider  the  influence  of  thematic  work  on  formal  structure. 

A.    LICENSE  OF  MODULATION. 

280.  The  regular  change  of  key  in  the  first  part  is,  as  we  have 
seen,  in  major,  into  the  key  of  the  Dominant ;   in  minor,  into  the 
parallel  (major),  or  the  (minor)  key  of  the  Dominant.    As  a  trifling 
exception  we  have  seen  in  the  Pathetic  Sonata  the  entrance  of  the 
secondary  subject  in  the  minor  mode  of  the  parallel  (but  with  close 
in  major).*     More  important  exceptions  to  the  rule  of  modulation 
are  found  in  the  later  works  of  BEETHOVEN  and  his  successors. 


*  In  the  Sonata  fippassionafa.Op.  57,  the  second  theme  is  constructed,  accord- 
in":  to  the  rale,  in  major  (Par.  208\  but  the  closing-group  and  coda  in  minor,  so 
that  the  first  part  ends  in  cA-minor.  Thus  the  second  theme  seems  to  shine  with 
a  mild  radiance  though  the  gloom  of  the  whole  movement. 


THE   SONATA-FORM   AS  A  WHOLE. 

In  the  Grand  Sonata  in  (7-major, 

Allegro  con  brio. 


221 


311. 


etc. 


-+-»-*—&-*-»— 


j-  -< 

B 


•^-0-0-f-  -&-    -<S>- 


the  secondary  subject  — 


312. 


i&J^Tff^S^ 


r 


dolce  e  molto  ligato. 


•r 


ft   J2.         •*• 


etc. 


and  the  closing-group — 


313. 


etc. 


are    in    Z7-major,    whilst    the    Coda    modulates    from    a-minor    1? 
^-minor  : 


222 


THE  SONATA-FORM. 


314. 


it—  i+rr-M-H=»'=   *-\-?-     '  -s-  -V- 

1     AV 

W-                    -t-        =*•-£-        -p 

-D  _  1  .  ,  

1  —  ^v  

Repeated  an 
Octave  lower. 

fe^                     *—           J^- 

1  — 

•£—    u.   ' 

9 

?-i_^_ 

W-                   -i§-     ^ 

1    =w= 

i 

In  the  Grand  Sonata  in  J9|?  (Fig.  104),  Op.  106,  and  the  Trio  in 
Bk,  Op.  97  (Fig.  8),  the  modulation  is  into  6r-major,  which  key  rules 
in  the  first  part  from  the  second  theme  on.  In  the  c-minor  Sonata, 
Op.  Ill,  J.i?-major,  parallel  of  the  Subdominant,  takes  the  place  of 
.E'tJ-major,  the  parallel;  so,  too,  in  the  Ninth  Symphony,  B\>-ma,jor 
takes  the  place  of  .P-major.  The  eight  other  Symphonies  of  this 
master  are  regular  as  regards  modulation. 

Of  BEETHOVEN'S  earlier  works  the  (7-major  string-quintet,  Op.  29, 
shows  the  modulation  to  .4 -major  with  close  in  «-minor;  the  6r-major 
Sonata,  Op.  31,  the  modulation  to  5-major,  5-minor. 

In  the  .#t?-major  quartet,  Op.  127,  the  modulation  is  to  <jr-minor. 
It  is  left  to  the  student's  examination  of  scores  to  find  numerous 
other  examples. 

281.  It  sometimes  occurs  that  the  second  theme  begins,  indeed, 
in  a  more  remote  key,  but  directly  discovers  the  bearing  of  the  latter 
on  its  own  appointed  key.  and  in  this  key  pursues  the  remainder  of  its 
course;  as, for  instance, in  BEETHOVEN'S  ^b-Trio,  Op.  11,  for  clarinet, 
violin,  and  piano-forte,  also  in  the  J^-major  Symphony. 

282.  On  the  other  hand,  a  case  may  be  cited  in  which  the  second 
theme   enters  in  the  principal  key  (thus  without   modulation),  and 
only  later,  after  the  manner  of  antithesis,  leads  into  the  regular  key 
(in  this  case  the  parallel).     This  instance,  which  in  such  dimensions  is 
probably  unique,  is  found  in  the  first  movement  of  MOZART'S  #-minor 
quintet ;  the  large  period  given  in  Fig.  £64,  which  forms  the  principal 
theme,  is  followed  by  a  group  of  six  measures  which  is  substantially 


THE   SONATA-FORM   AS   A   WHOLE. 


but  a  cadence-formula  (in  the  Tonic).     The  second  theme  now  enters 
in  g-m'mor,  above  an  extremely  simple  accompaniment-figure, 


315. 


and  forms  a  half-cadence  looking  towards  .Biz-major,  which,  after 
touching  the  major  chord  of  C  (reciprocal  dominant  of  B\>),  leads 
into  the  tonic  Triad  of  B  P,  in  which  the  antithesis  now  enters. 


316.  EfcEEEfcE 


=8r(f  Hff4^F=*j— h*jk j^^ 


Antithesis. 


etc. 


The  course  of  this  technically  important  secondary  subject  in  the 
Eeprise  confirms  the  explanation  given  ;  it  is  here  represented  in  me- 
lodic abridgment,  for  the  sake  of  comparison  : 


317. 


224 


THE   SONATA-FORM. 


>•=  i  •      />cr  *^~ 


m=f=^ 


^ 


The  Closing-group, 
also  considerably 
extended,  here 
follows. 


REMARK. — Here  the  second  theme  has  in  a  certain  sense  attracted 
to  itself  the  intermediate  group  (which  otherwise  belongs  to  the  first 
theme),  and  made  it  its  Thesis  (just  as  the  intermediate  group  gener- 
ally enters  as  Antithesis  of  the  first  theme).  The  dimensions  also 
correspond  to  this  view  of  the  case,  as  the  division  of  the  first  part  by 
two  (duality,  see  Par.  195),  falls  upon  the  half-cadence  which  brings 
in  the  new  key. 

283.  We  have  seen  (Par.  261)  that  minor  Sonatas  often  have,  in 
the  third  part,  the  second  theme  and  what  belongs  to  it  in  the  major 
mode  of  the  principal  key.  If,  however,  the  character  of  the  first 
theme  (in  minor)  strongly  predominates,  it  must  be  restored,  together 
with  the  original  minor  mode,  by  means  of  a  Coda,  so  that  the  close 
of  the  movement  may  be  in  unity  with  the  rest.  Such  a  Coda  is,  in 
view  of  its  purpose,  of  course  too  important  to  be  despatched  in  a  few 
notes ;  rather,  it  takes  the  form  of  a  new  part.  It  is  thus— to  take  a 


THE  SONATA-FORM  AS  A   WHOLE. 


225 


striking  example — in  BEETHOVEN'S  c-minor  Symphony  (1st  move- 
ment), in  which,  after  a  perfect  close  in  (7-major  a  modulation  is  made 
into  c-minor,  and  a  close  is  formed  whose  dimensions  are  equal  to  those 
of  any  other  part  of  the  movement. 


B.     CHANGE  OF  PLACE  OF  THE  GROUPS. 

284.  Occasionally  the  principal  subject  appears  once  more  at  the 
end  of  the  whole  movement,  that  is,  when  it  seems  to  have  a  very 
special  interest.  But  it  frequently  exchanges  its  appointed  place  at 
the  beginning  of  the  Reprise  for  a  place  at  the  close  of  the  latter;  as, 
for  instance,  in  MOZART'S  D-major  Sonata  • 

Allegro. 


318. 


*-   *-      -*•   -f-      *   ^.      A   4B.       JLJL*.+.*.*.JL4L 

U ^^-^ ^MM h^^j ^_» —    ___ b^^d — — — u 


in  which  the  lively  figuration  of  the  development  would  act  injuriously 
on  the  principal  subject  if  following  too  closely,  since  the  latter  also 
is  of  a  lively  tigurated  character. 

285.  In  BEETHOVEN'S  ^-minor  Sonata  the  intermediate  group  of 
the  first  part  is  taken  up  into  the  development,  of  which  it  constitutes 
the  essential  elements.  Hence  this  intermediate  group  is  altogether 
lacking  in  the  Reprise. 


C.     INTRODUCTION  AND  FINAL  CODA. 

286.  Not  unfrequently  the  Allegro  of  the  Sonata  is  preceded  by 
a  slow  Introduction,  an  Adagio,  a  Largo,  Lento,  etc.,  as,  for  example, 
MOZART'S  .E^-major  Symphony,  BEETHOVEN'S  Pathetic  Sonata,  and 
many  other  works. '  This  introduction  sometimes  influences  the 
Sonata,  which  borrows  motives  from  it.  In  MOZART'S  ^t? 
Symphony  the  figure  (in  sixteenths)  of  the  intermediate  group 


319. 


226 


THE   SONATA-FORM. 


is  borrowed  from  the  introductory  Adagio;  in  the  Pathetic  Sonata 
the  Allegro  is  repeatedly  interrupted  by  the  Grave  of  the  introduc- 
tion, and  this  place  in  the  development — 


320 


can  be  traced  back  to  the  motive  (in  the  introduction), 


which  motive,  again,  is  formed  from  the  first  measure  of  the  intro 
duction  : 


321. 


G-rave. 


= 


*      4  .  -*»••  :  *  - 


etc. 


287.  That  the  Coda,  at  the  repetition,  is  often  somewhat  length- 
ened, we  already  know  (Par.  212).     This  lengthening,  however,  some- 
times reaches  the  dimensions  of  a  large  thematically  elaborated  closing- 
group,  especially  in  BEETHOVEN'S  compositions. 

288.  A    moderately   lengthened  Coda  is  found  in  MOZART'S  g- 
minor  Symphony.     In  BEETHOVEN'S  eft-minor  Sonata,  on  the  other 
hand,  the  Coda  has  almost  the  dimensions  of  the  Reprise  itself,  draw- 
ing its  material  from  the  first  and  second  themes  and  the  coda-group, 
and  working  it  up  with  great  power  and  brilliancy.     In  the  c-minor 
Symphony  we  have  already  seen   (Par.  261)  the  second  theme  in  the 
repetition  closing  in  the  major  mode  of  the  principal  key,  and  followed 
by  an  extended  thematic  Coda  in  r-minor,  which  ends  the  movement 
in  this  key.     Xearly  all   of  BEETHOVEN'S  Symphonies,  also  many  of 


THE   SONATA-FORM   AS   A    WHOLE. 


227 


his  Sonatas,  quartets  and  other  compositions,  show  this  extension  of 
the  Coda,  proving  how  rich  this  master  was  in  resources  of  thematic 
development  and  climax. 

REMARK. — The  occurrence  of  different  Tempi  within  the  Sonata- 
form  is  illustrated  in  BEETHOVEN'S  rf-minor  Sonata,  whose  principal 
theme  has  two  tempi.  In  a  Duo-sonata  in  6'-major  by  MOZART  the 
principal  theme  is  in  Adagio, 


322. 


T^j.      r         ryrf-'-^p^z 


etc. 


the  secondary  theme  in  Allegro, 


323. 


289. 


D.    THE  THEMATIC  WORK 


is  extended  also  to  other  parts  of  the  Sonata-form  than  the  inter- 
mediate group,  the  coda,  the  development,  and  the  final  coda,  in 
which  we  have  hitherto  found  it. 

In  the  Sonata  appassionata,  Op.  57,  BEETHOVEN  constructs  the 
second  theme  out  of  the  first  by  free  contrary  motion  of  the  chief 
motive : 


First  Theme. 


324. 


etc. 


Second  Theme. 


LISZT,   in  the  J-minor  Sonata,  dedicated  to  ROBERT  SCHUMANN. 
forms  the  secondary  theme — 


228 


THE   SONATA-FORM. 


325. 


-J «L  J     w — J 


w 


t^ 


by  the  augmentation  of  the  motive  marked  a,  of  the  principal  theme  : 

Allegro  energteo. 


326. 


==K=5— t=t 


. .  . 

-y ^-  ,   L» S^-1--  -^— T~| 

—-^-    —    — 


H5BSEiB 


=*>=; 

s~ft— g 


^^t=- — ^r  r      -F 


452- 

-•te. 


Ss^ 


3^ 


H 


S 


MODIFICATION   OF  THE   SONATA-FORM   IN  THE  FINALE.          229 

In  the  c-minor  Symphony  the  chief -motive 

I 

accompanies  all  the  transformations  of  the  movement. 

290.  Still,  the  second  theme,   as  being  destined  to  form  the 
greatest  thematic  contrast  of  the  Sonata-form,  is  least  frequently  the 
place  for  thematic  reminiscence.     This  is  very  usual,  on  the  other 
hand,  in  the  closing -group.     We  have  already  seen  an  instance  in  MO- 
ZART'S ^-minor  Symphony,  in  which  thematic  work  occupies  part  of 
the  closing-group  (Fig.  283).     In  the  often-cited  ^r-minor  Quintet  of 
this  master  the  closing-group  consists  of  the  thematic  motive  and  a 
cadence-formula.    The  subsequent  Coda  and  connecting-link  are  also 
thematic. 

291.  Thematic  relationship  of  all  the  parts  by  means  of  rhythmic 
similarity  is  often  met  with ;  as,  for  example,  in  the  Finale  of  BEET- 
HOVEN'S e?-minor  Sonata,  and  in  many  other  works  of  different  com- 
posers. 


CHAPTER     LI. 

MODIFICATION   OF  THE   SONATA-FORM   IN  THE   FINALE. 

292.  The  Finale,  as  closing-group  of  a  large  work,  generally 
emphasizes  from  the  outset  this  terminal  character  by  a  more  decisive 
manner  of  closing  the  several  groups  of  the  form.  Thus,  the  first 
four  measures  of  the  Finale  of  BEETHOVEN'S  c-minor  Symphony— 


I  \M  1  ^^  T— 

327. 


of  themselves  form  as  it  were  a  closing-group.  So  the  first  theme 
ends,  after  a  much  lengthened  half-cadence,  with  a  powerful  close  on 
the  Tonic : 


230 


THE   SONATA-FORM. 


328. 


The  intermediate  group,  also,  which  immediately  follows  the  abov& 
with  a  new  motive, 


329. 


and  reaches  the  key  of  the  reciprocal  dominant  (see  Par.  241,  c)  by 
means  of  a  half-cadence,  subsequently  makes  in  this  key,  very  percep- 
tibly to  the  ear,  though  in  livelier  rhythm,  a  perfect  cadence  and  tran- 
sition to  the  second  theme  : 


Half-cadence  on  the  Reciprocal  Dominant. 


330. 


m    .  •"•  •*•  *        •> — 

=£!=i=it       =^=4^= 


f 


ff 

(The  Middle  Voices  to  be  filled  in.) 


MODIFICATION   OF   THE   SONATA-FORM   IN  THE   FINALE.  231 

a.    Becipr.  Dom.  Second  Theme. 


4f*^  ^^^^ 


The  second  theme,  too,  leads  with  a  very  decided  cadence  into  the 
closing-group, 


331. 


which  latter,  on  tYs  part,  in  its  9th  and  10th  measures  comes  to  a  per- 
fect tonic  close  in  its  key  (the  Dominant),  but  on  its  repetition  leads, 
without  cadence,  back  to  the  beginning,  and  the  second  time  to  the 
development. 

On  account  of  the  exceeding  clearness  of  its  construction  this 
movement  belongs,  together  with  the  Finale  of  the  cjf-minor  Sonata, 
among  the  very  best  models  for  the  young  composer.  We  will  observe 
here,  that  the  -4-  meter  introduced  in  the  development  is  a  reminis- 
cence of  the  Scherzo,  an  episode  of  the  form. 

293.  It  is  not  unusual,  however,  for  the  principal  theme  of  the 
Finale  to  have  primary  form,  preferably  the  small  form  ;  as,  for 
example,  in  MOZART'S  ^-minor  Symphony  (Fig.  40  b).  The  first  move- 
ment also  exceptionally  has  small  primary  form,  as  in  MOZART'S 
f-minor  Sonata  for  pianoforte  and  violin,  whose  theme  is  given  in 
Fig.  87,  a. 


FOURTH     PART. 
THE    HIGHER    RONDO-FORMS 


CONCLUSION    OF    THE   WORK. 

294.  The  HIGHER  RONDO-FORMS  presuppose  knowledge  and 
practice  of  the  Sonata-form,  they  being  combinations  of  this  form 
with  the  primary  form. 


CHAPTER     LIT. 

THE    FOURTH    RONDO-FORM. 

295.  The  FOURTH  RONDO-FORM  has  for  its  principal  subject  a 
group  in  two-part  or  three-part  (preferably  tfwo-part)  primary  form. 
This  is  followed,  as  in  the  Sonata,  by  an  episode  (intermediate  group), 
mostly  short,  modulating  into  the  key  of,  and  introducing,  the  sec- 
ondary subject.  At  the  close  of  the  secondary  subject,  closing-group 
and  coda  being  omitted,  follows  an  episode  which  leads  back  to  the 
principal  key,  and  in  it  repeats  the  first  theme.  Here  the  first  part 
ends  in  the  principal  key. 

Now  follows  in  another  key  (parallel,  subdominant,  mediant,  ho- 
monymic)  a  primary  form  group,  as  second  part,  thus  taking  the  place 
of  the  development  in  the  Sonata. 

At  the  close  of  this  primary  form  group  again  enters  the  episode 
leading  into  the  principal  key.  and  with  it  the  Reprise,  i.  e.,  repetition 
of  the  first  part  without  modulation,  as  in  the  Sonata-form.  (The 
second  theme,  therefore,  appears  in  the  principal  key.}  As  the 
omission  of  modulation  renders  another  repetition  of  the  first  theme 


T1IE   FOURTH    HONDO-FORM. 


233 


hazardous,  the  latter  is  either  abridged  or  its  place  supplied  by  a 
thematically  allied  free  coda. 

THIBTY-FOUKTH    EXEECISE. 

Compose,  according  to  these  directions  and  the  following  examples, 
some  Rondos  of  the  fourth  form,  as  far  as  possible  utilizing  previous 
compositions. 

296.  The  Finale  of  the  Afc-major  /Sonata  is  one  of  the  most  not- 
able examples  of  this  kind.  The  whole  movement  is  in  almost  contin- 
uous motion  of  sixteenths  (interrupted  only  by  short  rests)  from  the 
beginning.  The  first  theme — 


Allegro. 


BEETHOVEN. 


332. 


consists  of  a  large  period  in  A  i?-major,  in  which  is  a  transient  modula- 
tion. This  period  is  strictly  logically  formed  by  the  contraposition 
and  junction  of  the  first  and  second  members  of  the  thesis.  Their 
junction  is  effected,  in  fact,  after  the  manner  of  double  counterpoint 
"in  the  inversion,"  the  upper  voice — 


333. 


becoming  the  lower  voice  : 


334. 


234 


THE   HIGHER   RONDO-FORMS. 


A  short  episode  (4  measures)  leads,  with  the  principal  motive  of  the 
first  theme,  into  the  reciprocal  dominant,  -6^-major,  which  at  once  be- 
comes the  dominant  septimachord  of  the  key  of  i^-major,  in  which 
the  second  theme  now  enters : 


335. 


Secondary  Subject. 


__^     £     rh"h    ^^rrt*1    : 


This  embraces  over  16  measures,  and  is  followed  by  a  transitional 
passage  leading  back  to  the  first  theme — 


336. 


r 


Theme. 


fc?T-|j «^»t *---» T^«= 


etc. 


which   i?  repeated   entire.     Its   close  is  immediately  followed  by  a 
middle  group  in  the  key  of  the  mediant — 


THE  FIFTH  RONDO-FORM. 


235 


337. 


the  first  part  being  repeated.  The  second  part,  however,  contains  no 
complete  phrase,  but  is  composed  of  four  dimeters,  by  which  it  mod- 
ulates into  the  dominant  of  ^b-major,  thence  back  to  the  principal 
theme. 

In  the  Kondo  of  BEETHOVEN'S  (7-major  Sonata,  Op.  2,  the  form  is 
more  amply  developed. 


CHAPTER     LIII. 

THE     FIFTH     RONDO-FORM. 

297.  The  FIFTH  RONDO-FORM  is  substantially  a  Sonata,  in  which 
the  place  of  the  development  is  taken  by  a  large  primary  form  group. 

298.  At  the  close  of  the  first  part,  however,  in  many  Rondos  of 
this  form,  the  principal  theme  is  repeated  in  the  principal  key ;   in 
which  case  a  modulation  into  this  key  is,  of  course,  necessary.      But 
just  as  frequently,  instead  of  the  repetition  in  the  principal  key,  is 
found  a  Coda  in  the  second  key,  formed  from  motives  of  the  first  theme. 
The  difference  between  this  and  the  preceding  form  is  this,  that  the 
Rondo  of  the  fourth  form  restricts  the  Sonata  construction  to  two 
themes,  but  always  repeats  the  first  theme  ;   the  Rondo  of  the  fifth 
form,  on  the  contrary,  includes  every  part  of  the  Sonata,  but  does  not 
always  repeat  the  first  theme  at  the  end  of  the  first  part. 

299.  FIRST  PART. — The  principal  theme  of  the  fifth  Rondo-form 
is  constructed  like  that  of  the  Sonata,  but  may  have  primary  form 
also. 

The  episode  (intermediate  group)  is  constructed  exactly  as  in  the 
Sonata,  being  either  thematically  reminiscent  of  the  first  theme,  or 
independent. 

The  second  theme  is  subject  to  the  same  rule  of  modulation  as  in 
the  Sonata. 


236 


THE   HIGHER   RONDO-FORMS. 


Of  the  closing-group  precisely  the  same  is  to  be  said. 

The  coda  either  recapitulates  the  first  theme  by  thematic  reminis- 
cence, or  forms  the  connecting-link  for  the  repetition  of  the  first 
theme  in  the  original  key.  Sometimes  the  coda  is  lacking. 

The  repetition  of  the  first  theme,  when  it  occurs,  is  generally  in  an 
abridgment. 

300.  SECOND  PART. — Now  follows,  in  place  of  the  development, 
the  primary  form  group  specially  characteristic  of  the  form,  its  key- 
relationship  being  the  same  as  in  the  fourth  Rondo-form.     Not  un- 
frequently  this  is  followed  by  a  bit  of  actual  development,  or  at  least 
by  some  kind  of  thematic  work,  leading  into  the 

301.  THIRD  PART,  repetition  of  the  first  part,  without  modula- 
tion. 

302.  In  the  composite  large  Sonatas  these  Rondo-forms  are  found 
only  as  closing-groups,  and  have  as  such  the  tendency  to  a  more  de- 
cided manner  of  bringing  their  periods,  etc.,  to  a  close  (see  Par.  292). 

THIRTY-FIFTH    EXERCISE. 

Compose,  according  to  these  directions  and  the  following  examples, 
Rondos  of  the  fifth  form,  again  preferably  utilizing  material  already  on 
hand. 

3O3.  The  fifth  Rondo-form  is  exemplified  with  unusual  clearness 
in  BEETHOVEN'S  Sonata,  No.  1,  last  movement,  which  accordingly  fur- 
nishes the  best  model  of  this  form.  The  first  part  comes  to  a  close 
in  Sonata-fashion,  ending  with  a  reminiscence  of  the  principal  theme. 


338. 


THE  FIFTH   KONDO-FOKM. 


237 


The  dominant  septimachord  of  Alt-major,  sounded  three  times — 


339. 


mm 


suffices  to  introduce  the  theme  so  conclusive  for  the  Rondo-form : 


340. 


sempre  piano  e  dolce. 


?     ,    ,      f    -?— ?     .    .      ?       f— f 

r ) F 1 F ) * ™ ™- 

:=!=-!       I    — I — 3= 


B- 


^Q 


etc. 


£ 


This  theme  makes  in  the  fifty-first  measure  a  close  in  . 
Its  construction  is: 

I?™      TJ  T>  n    ^  Tonic  ffroup,  complete  in  itself 10  measures. 

r  IRST   ir  ART.   ->  . 

(  Repetition  with  variations  of  tone-quality,  etc 10 

Middle  group  (2x4) S 

Antithesis   S          " 

Middle   group   and   Antithesis   repeated  as    Second 
Part  Par.  49) 15 

Total 51  measures. 


238 


THE   HIGHER   KONDO-FOKMS. 


We  have  here,  then,  small  three-part  primary  form,  or  strictly 
speaking,  in  view  of  the  formal  structure  of  the  groups,  three-part 
period-form  (see  Chapter  VIII),  omitting  the  repetitions,  of  10  +  8  +  8 
measures. 

In  the  last  measure  now  begins  a  development  with  the  first  motive  i 
of  the  principal  subject,  leading  back  in  29  measures  to  the  latter.* 

4- 


341. 


PP  • 


tJT 


:*- 


etc. 


3O4.  The  Hondo  of  the  -E'b-major  Sonata,  Op.  7,  also  belongs  to 
this  form.    It  constructs  its  second  theme  with  the  motive : 


the  closing-group  with  : 


etc. 


sf       tr. 


After  the  closing-group  the  principal  theme  re-enters:  First 
period:  Thesis,  Antithesis  (Fig.  26  b)  ;  Second  period  :  Thesis,  and  — 
instead  of  Antithesis  —  transition  into  c-minor, 


344. 


,  _  ___      _  _ 


*  But  for  the  song-group  in  Ab  (Fig.  340)  this  whole  movement  would  per- 
fectly correspond  to  the  finale  of  the  Sonata-form. 


THE   SLOW  TEMPO. 


239 


in  which  key  a  three-part  primary  form  follows  with  all  its  repetitions, 
then  by  means  of  a  Coda  leads  back  into  the  Reprise. 

The  attention  of  the  young  composer  is  here  called  to  the  Rondo 
of  the  Pathetic  Sonata  also,  which  is  likewise  of  the  fifth  form. 


CHAPTER    LIV. 

THE    SLOW    TEMPO. 

305.  Thus  far  the  exercises  for  the  Sonata-form  and  the  related 
large  Rondo-forms  implied  quick  tempo  exclusively.     Yet  these  forms 
may  be  applied  in  slow  tempo  also.     The  fifth  Rondo-form  might  seem, 
on  account  of  its  wealth  of  material,  to  make  an  exception,  yet  that 
part  of  it  which  is  in  Sonata-form  may  be  reduced  to  the  dimensions 
of  the  Sonatina,  when  it  will  not  be  too  extended  for  a  slow  tempo. 

306.  An  example  of  the  fifth  Rondo-form  in  slow  time  is  the  cele- 
brated Largo  e  mesto  of  BEETHOVEN'S  D-major  Sonata,  Op.  10.     The 
first  part  is  constructed  in  Sonatina-form  : 


Principal  Theme. 


345. 


(Ends  in  the  9th  measure.) 


346. 


Intermediate  Group. 


i  y*^  ' ^^'    i     __iz~ 


gi^^E=;i^|^-:g:-g^E  ^jjj£j^. 


(Ends,  after 
8  measures, 
in  C-major. 


240 


THE   HIGHER   RONDO-FORMS. 


Second  Theme,  a-minor. 


347. 


(Ends,  after  9  measures,  In  a  minor.) 


_ 


Closing  Group. 


348. 


etc. 


(has  4  measures  and  closes  the  first  part  without  Coda.) 
but  the  middle  group — 


349. 


•^         (Has  14  measures.) 


etc. 


THE   SLOW  TEMPO.  241 

instead  of  carrying  out  the  primary  form,  introduces  a  new  motive  : 


350. 


f    p 


1^=7: 


t  i  i 

4444 4_ 


modulates  with  it  into  the  dominant  of  the  principal  key,  and  from 
thence  returns  to  the  first  theme.  Such  freedom  of  abbreviation  re- 
quires, of  course,  a  slow  tempo. 

The  third  part  presents,  after  the  regular  termination  of  the  Re- 
prise, the  closing-group  being  omitted,  a  magnificent  thematically  fig- 
urated  elaboration  of  the  principal  motive  (Fig.  345),  leading,  with 

the  figure  p£f  of  the  middle  group,  to  the  close.     This  thematic 


& 


work  may  be  regarded  either  as  repetition,  after  the  Rondo  manner,  of 
the  principal  theme,  or  as  Coda  in  the  sense  of  Paragraphs  287,  288. 

To  the  close  is  attached  a  Coda  of  very  impressive  character,  the- 
matically reminiscent  of  the  motive  |  a  |  in  Fig.  345. 

307.  Sonata-form  (or,  as  the  case  may  be,  Sonatina-form)  is  found 
in  the  slow  movements  of  our  classical  composers  very  often.    But  in 
consideration  of  the  tempo  they  almost  always  reduce  the  development 
portion  to  a  minimum,  or  do  away  with  it  entirely,  satisfying  the  need 
of  thematic  work  by  the  variations  of  the  principal  theme. 

308.  A  Sonata-movement  hi  slow  tempo  loithout  development  is 
illustrated  by  the  Adagio  molto  of  BEETHOVEN'S  c-minor  Sonata, 
Op.  '10. 


351. 


After  the  regular  close  of  the  first  part  in  .E^-major,  a  single  septi- 
macbord  suffices  to  lead  into  the  regularly  closing  Reprise : 


243 


THE   HIGHER   RONDO-FORMS. 


ZZZI 1  \  9,  =^Z± 


352. 


3O9.  In  the  rf-minor  Sonata,  Op.  31,  is  found  the  same  form. 
The  intermediate  group  begins  thus :  


4     J 


etc. 


and  makes  the  regular  close  on  the  reciprocal  dominant,  (7-major. 
Here  the  second  theme  enters  in  the  key  of  the  dominant,  .F-major, 


354 


and  constitutes  a  two-part  period  of  the  third  form  (Par.  37,  38). 
This  is  followed — closing-group  and  coda  being  omitted — by  a  con- 
necting-link of  four  measures  leading  to  the  Reprise,  in  which  every- 
thing takes  its  regular  course,  but  the  principal  theme  is  raried  by  a 
lively  figuration  in  thirty-second  notes. 

Compare  here,  also,  the  Andante  of  MOZART'S  .F-major  Sonata, 
whose  principal  subject  is  given  in  Fig.  262. 

31O.  Sonata-form  with  short  development  is  shown  in  the  Adagio 
affettnoso  cd  appassionato  of  BEETHOVEX'S  J^-major  string-quartet, 
Op.  IS. 


THE   SLOW  TEMPO. 


243 


311.  On  the  other  hand,  the  Adagio  molto  e  mesto  of  BEETHOVEN'S 
grand  .F-major  quartet,  Op.  59,  exhibits  sonata-form  with  large  devel- 
opment. The  principal  theme,  whose  thesis  here  follows  (in  the  anti- 
thesis the  melody  is  taken  by  the  'cello),  has  large-  period-form. 


p  sotto  wee. 


355. 


a — s=.  -H —   i    j-hj-  -*—  — * 


morendo. 


etc. 


The  intermediate  group  takes  its  cue  from  the  last  motive  of  the 
theme, — 


356.  FfeZiEz 


in  four  measures  reaches  the  reciprocal  dominant,  £r-major,  makes  in 
three  measures  a  half -cadence  on  it  twice,  and  a  transition  to  c-minor; 
in  which  the  second  theme  now  enters  in  the  'cello. 


244 


THE   HIGHER   RONDO-FORMS. 


Violoncello. 


r    if    -rVr-  - 


ttpr. 


After  thirteen  measures  this  theme  makes  a  preparation  of  the 
close,  thus: 


358. 


f  ^          f  p  -+        etc. 


but  here  is  constructed  a  closing  formula  so  significant  and  peculiar 
that  it  may  be  regarded  as  special  closing-group,  even  though  its  be- 
ginning coincides  with  the  formation  of  the  secondary  subject : 


359. 


(repeated  with  slightly  varied  figuration.) 

Whether  the  subsequent  five  measures  are  to  be  reckoned  in  the  closing- 
group,  or  regarded,  entirely  or  partly,  as  Coda,  is  immaterial.  But 
now  begins  the  development,  which  has  38  measures  against  45  of  the 
first  part,  and  is  occupied  first  with  the  second  theme,  then  with  the 
first,  and  finally  with  the  closing-group.  From  the  latter  is  developed 
a  thought  in  Z)J2-major — ^foUo  cantabile — of  great  tenderness,  forming 
as  it  were  an  episode  of  the  Sonata-form,  such  as  often  occurs  in  the 
development,  viz: 


THE   SLOW  TEMPO. 


245 


nwlto  cantabile. 


360. 


EEe _£j — 


T 


Motive  of  the  Closing-group. 

B  area. 

- 


The  'cello  now  continues,  leading  with  the  first  motive  through  the 
circle  of  Fifths — .Db-major,  ylb-major,  el?-minor,  Jb-minor,  /-minor, 
C-major — to  the  dominant  of  the  principal  key,  when  the  closing  for- 
mula is  repeated  and  transition  is  made  into  the  Reprise.  This  latter 
takes  the  regular  course.  At  its  close,  however,  enters  (as  not  seldom 
happens  in  the  slow  movement  in  Sonata-form)  a  repetition  of  the 
principal  theme  (which  repetition  was  omitted  at  the  beginning  of  the 
Reprise).  This  repetition  leads  to  a  very  elaborate  figurated  cadenza, 
which  introdaces  the  next  movement  of  the  quartet  (Theme  Russe, 
Allegro.) 

312.  Another  very  noteworthy  instance  of  the  application  of  the 
Sonata-form  in  the  slow  movement  is  the  Andante  of  MOZART'S  great 
C-major  symphony,  which  movement  shows,  not  only  in  its  totality, 
but  also  in  all  its  separate  parts,  an  extremely  interesting  metrical 
construction.  The  principal  subject  ends  in  the  eleventh  measure, 
and  in  the  same  measure  begins  to  repeat  itself  (see  Paragraph  232), 
forming  a  thesis  of  8  measures  with  half-cadence  on  the  dominant — 
the  (7-major  Triad, — indicated  by  the  numeral  V  in  the  following 
figure.  Hereupon  abruptly  enters,  in  the  key  of  c-minor,  a  theme 
which  must  be  regarded  as  episode  (intermediate  group)  ; 


246 


THE  HIGHER  RONDO-FORMS. 


361. 


_ 
— £ — i----  — < — '- — *. 1 1 — i. 


s= 


it  makes,  after  eight  measures  of  bold  and  striking  harmony,  a  half- 
cadence  on  the  reciprocal  dominant  (6r-major)  of  the  key  of  the  move- 
ment (/"-major).  This  is  followed  by  the  second  theme,  of  12^,  meas- 
ures, in  the  key  of  the  Dominant,  to  which  a  closing-group  of  4 
measures  succeeds.  There  is  no  Coda,  but  a  figure  for  the  first  violin 
serves  as  a  transition,  the  first  time  into  the  repetition,  the  second 
time  into  the  development : 


362. 


£=£=  z^gz^BEJB-^Ffr- 


r- 


The  scheme  of  the  movement  is  continued  as  follows. — The  interme- 
diate group  or  link-episode  is  lengthened  to  the  extent  of  14  measures. 
The  principal  theme  is  thematically  elaborated  with  the  figurated 
motive  in  32d-notes,  which  accompanied  its  repetition  in  the  first  part 
This  motive  i?  worked  up  to  a  fiery  ff,  which  leads,  with  a  reminis- 
cence of  the  intermediate  group, 


THE  COMPOSITE  LAEGE   SONATA.  247 


363. 


now  not  into  the  principal  subject,  but  into  the  secondary  one,  which 
latter  thus  begins  here  the  third  part  of  the  Sonata-form.  After  this 
everything  follows  regularly,  but — after  the  closing-group  comes  the 
repetition — omitted  above — of  the  principal  theme.  A  Coda  of  3 
measures  brings  the  whole  to  an  end. 

THIETY-SIXTH    EXERCISE. 
Compose  a  slow  movement  in  Sonata-form  or  higher  Rondo-form. 


CHAPTER     LV. 

THE    COMPOSITE    LARGE    SONATA. 

313.  A  composite  piece  of  music  for  the  pianoforte,  or  for  the 
pianoforte  and  a  single  solo  instrument,  is  generally  called  Sonata 
when  its  first  movement  has  Sonata-form.     A  composition  in  the  same 
form  for  orchestra  is  called  SYMPHONY,  for  a  union  of  string-instru- 
ments, etc.,  QUARTET,  QUINTET,  etc.     Accordingly,   RAFF'S  (/-minor 
Suite,  Op.  162,  might  also  be  named  Sonata,  as  its  first  movement  is 
in  that  form,  though  with  modern  modifications. 

314.  The  key  of  a  Sonata  is  determined  by  the  first  movement,  not 
by  the  introduction,  if  it  have  one ;  the  KEEUTZER-Sonata,  therefore,  is 
in  a-minor.     In  many  Sonatas  (Symphonies,  Quartets)  in  minor  the 
Finale  is  in  the  major  mode  of  the  same  key,  instances  of  which  are 
BEETHOVEN'S  e-minor  Symphony,  (/-minor  (ninth)  Symphony. 

315.  An  Adagio,  even  of  large  dimensions,  but  leading  directly 
into  the  Allegro,  is  regarded — not  as  a  separate  movement,  but — as 
introduction  to  the  Allegro,  which  latter  ranks   as  first  movement. 
Such  an  Adagio  precedes,  for  example,  the  often-quoted  e-minor  Sona- 
tina by  MOZART  (see  Fig.  49  a),— 


248 


THE   HIGHER  RONDO-FORMS. 


Adagio. 


364 


and  after  more  than  38  measures  in  large  three-part  primary  form 
makes  a  half-cadence  and  leads  into  the  Allegro,  which  is  in  Sonatina- 
form.  Every  one  is  familiar  with  the  Grave  which  introduces  the 
Pathetic  Sonata  and  frequently  interrupts  the  Allegro.  The  first  move- 
ment of  the  -4 -major  Symphony,  too,  is  preceded  by  an  Adagio  of 
considerable  dimensions ; 


365. 


Jbco  sostenuto. 

^OD°%jr    J         j         J     Clarinet.         ^  ,      j^,      ,        J^ 

F^1 

»  U.TI         r           .  ^ 

i   >^  ^ 

\  *      *  *&     * 

n  i       I*       ) 

^         i  • 

I-P 

->—  ?—  1  r- 

-»  *  1  ^-»  — 
I                            •*•                \   f 
fP                                                    f 

[±-Jt  0  r  f  (9  1  =  

-*H  —  •"-*»-  '  ' 

—      '                 ^-                 etc 

_  r—  a  

9: 

EfflS  __t  . 

. 

-^  —  =  «E 

iff-tzid      * 

A" 

tt           2 

i                         T 

P 

and  the  same  is  to  be  said  of  MOZART'S  J^b-major  Symphony  and  of 
many  of  HAYDN'S  Symphonies.  The  introduction  to  BEETHOVEN'S 
great  (7-major  quartet  is  well  known. 

316.  Sonatas  of  but  one  movement,  in  Sonata-form,  occur,  but 
very  rarely. 

317.  Sonatas  of  two  movements  are  of  frequent  occurrence.     An 
instance  with  large  introduction  is  MOZART'S  e-minor  Sonatina  already 
so  often  quoted,  in  which  the  Sonata-form  movement  is  followed  by  a 
Rondo  of  the  third  form,  properly  a  Minuet  with  two  Trios. 

RONDO.     Tempo  di  Memtetto. 

A  m 


366. 


l^  3ipj^i=^^^^^ 


etc. 


THE   COMPOSITE  LARGE   SONATA. 
FmsT  Two.    Second  Theme. 


249 


SECOND  TBIO.    Third  Theme. 


Violin, 
8ve.  higher. 


— ff"*       — -*        -*•-       -4-\ • * 


The  same  master's  (Duo-)  Sonata,  Xo.  4,  in   (r-major,  also  consists  of 
two  movements,  the  second  being  a  theme  with  variations. 

318.  Sonatas  of  two  movements  without  introduction  are,  e.  g., 
MOZART'S  other  e-minor  (Duo-)  Sonata  (see  Fig.  31,  b),  HAYDN'S 
£$-minor  piano-sonata, 


367. 


with  Minuet  in  c|f-minor,  ^-major.  By  BEETHOVEN,  for  instance, 
the  Sonatinas,  Op.  49,  the  Sonatas,  Op.  54,  Op.  101  (JS'-major) ;  the 
great  (7-major  Sonata,  Op.  53,  also  has  only  two  movements,  for  the 
Adagio  inserted  between  Sonata  and  Rondo  is  to  be  regarded  .as 
merely  the  introduction  to  the  latter. 

319.  Most  Sonatas  have  three  movements,  among  them  the  most 
noted,  as  the  Pathetic,  the  eft-minor,  the  Appassionata.     In  the  eft- 
minor  Sonata  the  last  movement  only  has  Sonata-form,  the  first  move- 
ment belongs  to  no  special  form,  for  which  reason  BEETHOVEN  has 
inscribed  this  Sonata  as  "•quasi  una  fantasia" 

320.  The  perfect  LARGE   SONATA-FORM,  as  found  in    most  of 
HAYDN'S  and  MOZART'S  Symphonies  (in  all  the  later  ones),  in  all  of 
BEETHOVEN'S  Symphonies,  in  the  large  string-quartets  and  quintets 


250  THE   HIGHEE   RONDO-FORMS. 

and  kindred  species  of  instrumental  music,  consists  of  four  move- 
ments, viz.: 

an  Allegro,  with  or  without  introduction ; 

a  slotv  movement ; 

a  Minuet  or  Scherzo  ;  and 

a  Finale,  Allegro. 

321.  By  way  of  exception  the  2d  and  3d  movements  change  places, 
e.  g.,  in  the  Ninth  Symphony  and  the  2?b-major  Sonata,  Op.  106,  for 
the  reason  that  the  great  dimensions  and  the  thematic  character  of  the 
first  movements  require  the  contrast  which  is  thus  afforded.     The 
place  of  the  slow  movement  is  sometimes  taken  by  an  Allegretto  as  in 
BEETHOVEN'S  ^b-major  Sonata,  Op.  31,  in  his  7th  and  8th  Symphonies. 
On  the  other  hand,  the  Minuet  in  the  8th  Symphony  is  slow,  in  the 
graceful  and  ceremonious  movement  originally  characteristic  of  this 
dance.     Exceptions  like  these  result  from,  and  are  justifiable  only  by, 
exceptional  conditions.     To  introduce  them  from  mere  caprice  would 
be  to  betray  ignorance  of  the  essence  of  formal  construction,  and  a 
desire  to  help  one's  self  out  by  recourse  to  what  is  unessential  and 
external.     That  movements  are  sometimes  joined  with  others  which 
happen  to  be  already  written — a  procedure  which,  generally,  of  course 
excludes  logical  unity, — is  neither  to  be  denied  nor  to  be  absolutely 
condemned.      Such  combinations  have  at  least  the  unity  of    the 
author's  individuality,  which  is  by  no  means  to  be  undervalued. 

322.  There  are  exceptional  cases  of  the  Sonata  (so  called)  with- 
out a  single  movement  in  Sonata-form,  as,  for  instance,  BEETHOVEN'S 
Jib-major  Sonata,   Op.  26,  which    consists  of   Variations,  Scherzo, 
Funeral  March  and  Rondo. 

THIRTY-SEVENTH  EXERCISE. 

Combine  movements  already  composed  into  Sonatas,  with  a  view 
to  subsequent  filling  up. 


OTHEB  APPLICATIONS  OF  THE  LtfSTKUMENTAL  FOKMS. 


251 


CHAPTER     LVI. 

OTHER  APPLICATIONS    OF    THE    INSTRUMENTAL    FORMS. 

323.  The  great  masters  of  our  classical  instrumental  music  and 
their  contemporaries  and  followers  were  so  familiar  with  the  principal 
form  of  that  kind  of  music — the  Sonata-form — that  they  brought  into 
view  its  characteristic  qualities  in  their  larger  vocal  compositions  also. 
Here  the  given  text,  by  its  logical  and  psychological  import,  of  course 
set  limits  to  their  purely  musical  inclination.  Yet  we  find  those 
characteristic  qualities  not  only  in  the  Masses  of  HAYDN  and  MOZART, 
but  also  in  the  domain  of  the  Opera.  The  5l?-major  aria  of  Ottavio 
in  "Don  Giovanni"  ("il  mio  tesoro  intanto")  has  the  structure  of  the 
Sonatina,  as  also  the  entrance-aria  of  Elvira  (in  the  same  opera), 
marked  as  a  trio  on  account  of  the  little  episodes  of  Don  Giovanni  and 
Leporello : 


368. 


Ah !    cbi  mi    di   -  ce      ma  -  i 


Elvira's  second  grand  aria, 


o  oc\   u  y  i  v, « — — r    t — 0 — ^ 


Mi    tra  -    di        quell'   alma    in        -    gra  -  ta, 


is  a  Rondo  of  the  first  form  ;  Pizarro's  aria  in  "Fidelio"  has  Sonata- 
form.  But  especially  the  outset  of  the  Sonata-form  (from  the  prin- 
cipal theme  to  the  entrance  of  the  secondary  one)  is  found  in  nu- 
merous accompanied  vocal  compositions  (even  ensemble  pieces)  which 
involve  a  dramatic  scene. 

324.  That  the  Overtures  of  our  classical  masters  belong  almost 
exclusively  to  the  Sonata-form  may  at  this  point  be  assumed  as  already 


252 


THE   HIGHER   HONDO-FORMS. 


known.  Also  the  Allegro  of  WAGNER'S  "Tannhauser"  Overture 
(which  is  constructed  from  motives  of  the  Venusberg  scene)  belongs 
to  this  form,  which  in  a  certain  sense  is  extended  to  a  Rondo  of  the 
fifth  form  by  the  middle  group  in  6r-major  : 


Clarinet. 


tr. 


Eight  Violins,   jfcfr— 

369. 


MEYERBEER'S  Overture  to  "  Struensee,"  in  its  construction  strongly 
suggestive  of  BEETHOVEN'S  "  Egmont "  Overture,  has  also  Sonata- 
forin. 

The  great  composers  of  the  French  and  Italian  opera,  BOIELDIEU, 
AUBER,  ROSSINI,  BELLINI,  etc.,  likewise  avail  themselves  of  this  form, 
in  the  sharp  outlines  of  the  several  divisions  relatively  to  each  other. 

The  Overtures  of  GLUCK,  who  nourished  before  the  development 
of  the  instrumental  forms,  do  not,  indeed,  exhibit  the  sharply  defined 
Sonata-form,  though  they  give  unmistakable  indications  of  it. 

325.  The  tendency  of  the  opera  in  our  time,  however,  has  led 
through  inner  necessity  to  the  substitution  of  the  Prelude  (Vorspiel) 
in  place  of  the  Overture.  No  finer  example  of  the  operatic  Prelude 
can  be  had  than  the  introduction  to  WAGNER'S  "Lohengrin."  MAX 
BRUCH'S  Prelude  to  his  "  Loreley  "  is  also  worthy  of  note  in  this  con- 
nection. 


We  have  followed  up  and  practised  form-structure,  from  the  sim- 
plest combination  of  but  two  measures,  in  the  so-called  Section  or 
Dimeter,  to  the  splendid  art-fabric  of  the  grand  Sonata  and  its  kindred 


OTHER  APPLICATIONS   OF  THE   INSTRUMENTAL   FORMS.  253 

forms.  Iii  so  doing  we  have  seen  spread  out  before  us  an  almost  inex- 
haustible wealth  of  material.  Here,  therefore,  as  in  the  other  branches 
of  musical  construction,  in  order  to  attain  to  finished  art-creations 
such  as  we  have  had  repeated  occasion  to  contemplate,  over  and  above 
natural  talent  the  most  thorough  practical  knowledge  is  requisite,  since 
this  alone  will  enable  us,  in  the  midst  of  this  enibarras  de  richesses,  to 
lay  hold  of  that  which  alone  can  be  esthetically  (artistically)  the  right 
thing,  on  every  occasion,  without  fear  of  error. 


APPENDIX, 


THE     STROPHE. 

FOLLOWING  an  analogy  of  music  to  poetry,  some  modern  writers 
on  musical  subjects  have  applied  the  term  STROPHE  to  certain  groups 
varying  in  extent,  whose  construction  does  not  strictly  fall  under  any 
of  the  regular  forms.  Thus,  the  celebrated  editor  of  pianoforte  liter- 
ature, the  late  DR.  THEODORE  KTJLLAK,  in  his  Instructive  Edition 
of  CHOPIX'S  Works,*  distinguishes  in  some  of  the  Nocturnes  "larger 
divisions,  which  are  related  to  each  other,  not  like  chief  and  secondary 
subjects,  for  example,  but  rather  like  the  Strophes  of  a  poem ;  for 
while  they  are  indeed  specifically  different  in  point  of  contents,  they 
serve  nevertheless  to  express  one  and  the  same  fundamental  mood,"  etc., 
etc.  Of  the  Nocturne  in  5-major,  Op.  9,  No.  3,  he  says  that  in  its 
chief  subject  "  three  special  parts  may  be  distinguished,  which  in  a  cer- 
tain sense  form  its  Strophes.  These  Strophes  are  indeed  different,  but 
not  essentially  unlike,  in  point  of  contents,  and  they  constantly  alter- 
nate with  each  other,"  etc.  He  divides  the  chief  subject  thus  : 

1st  Part  or  Strophe measures    1 — 12. 

2d  "  "  «  13—30. 

1st  "  "  (repeated) "  21—32. 

2d  "  (repeated) "  33—40. 

3d  "  "  "  41—56. 

2d  (repeated) "  57—64 

3d  "  "  (repeated) "  65— SO. 

2d  "  "  (repeated) "  81— 87. 

Of  the  Nocturne  in  Z^-major.  Op.  27,  No.  2,  DR.  KULLAK  says  that 
it  "divides  best  into  Strophes,  for  it  does  not  develop  into  groups  of 
parallel  subjects,  in  the  strict  sense.  Even  the  bass  moves  from  begin- 

*  Edited  in  English  by  Albert  E.  Parsons  ;  G.  Schirmer,  publisher. 


APPENDIX.  255 

ning  to  end  in  homogeneous  figures.  I  have  assumed  eight  Strophes, 
which  afford  variety  of  shading,  without  offering  essentially  new  con- 
tents. The  chief  Strophes  are  the  1st,  lid  and  Vlllth."  His  division 
into  Strophes  is  the  following  : 

Strophe      I measures    2 — 9. 

II "  10—13. 

"  III  (transposed  repetition  of  II) "  14 — 25. 

"  IV  (repetition  of  1) "  26 — 33. 

V  (transposed  repetition  of  II) "  34 — 45. 

"  VI  (repetition  of  I). "  46—53. 

"  VII  (repetition  of  II) "  53—62. 

"  VIII  (real  Coda  of  the  piece) "  62— Fina 

The  Nocturne  in  .5-major,  Op.  32,  No.  1,  is  thus  divided : 

Strophe  I measures    1 —  8. 

Interlude "  8 — 12. 

Strophe  I  (repeated) "  13—20. 

Strophe  II "  21—30. 

Interlude "  31 — 41. 

Strophe  II  (repeated) "  42—51. 

Interlude "  52—61. 

Coda "  62— Fine. 

EUDOLPH  WESTPHAL,  in  his  "  Allgemeine  Theorie  der  Musikali- 
schen  Rhythmik,"  applies  the  word  Strophe,  in  a  composite  sense,  to  a 
somewhat  large  sub-division  of  a  composition.  The  first  48  measures 
of  the  first  movement  (Allegro)  of  BEETHOVEN'S  Sonata,  No.  1 
(/-minor),  for  instance,  form,  according  to  him,  a  composite  Strophe, 
made  of  nine  simple  Strophes,  thus : 

1st  Strophe measures    1 —  8. 

2d  "      "  8—16. 

3d  " "  16—18. 

4th  "      "  18—20. 

5th  "      "  20—25. 

6th  "       "  26—30. 

7th  "       "  31—36. 

8th  "       "  37—41. 

9th  "  41—48. 


The  same  author  divides  the  whole  of  the  Adagio  Cantdbile  of 
BEETHOVEN'S  Pathetic  Sonata  into  two  composite  Strophes,  according 
to  the  following  scheme  : 


256  APPENDIX. 


STROPHE  I. 

1st  Simple  Strophe, — two  4-measure  Periods,* measures    1 —  8. 

2d        "  "        —Repetition  (varied) "          9—16. 

3d        "  "        — 5 -measure  Period "        17 — 23. 

4th      "  "        —Periods "        24—28. 

5th      "  "       —Repetition  of  1st  Strophe  "        29—36. 

STROPHE  H. 

6th  Simple  Strophe, — two  4-measure  Periods measures  37 — 44. 

7th       "  "        — 6-measure  Period  "        45 — 50. 

8th       "  "        —Repetition  of  1st  Strophe "        51—58. 

9th       "  "        —Repetition  of  2d  Strophe "        59—66. 

10th       "  "        —(Coda) "        66— Fine. 

*  On  the  ground  that  it  is  a  perversion,  based  on  misconception,  of  the  ancient 
Greek  rhythmical  theory,  which  he  holds  to  be  the  only  correct  one  even  for 
modern  music,  WESTPHAL  rejects  the  commonly  received  doctrine,  first  formu- 
lated by  ANTOINE  REICHA  (1770 — 1836),  with  regard  to  the  structure  of  the  mu- 
sical Period. 


INDEX. 


FIGURES  REFER  TO  PARAGRAPHS,  IN  THE  ABSENCE  OF  OTHER  INDICATIONS. 


A. 

ABBREVIATION  of  large  three  part  pri- 
mary form,  72,  seqq. 

of  large  two-part  do.,  78. 

of  small  three-part  do. ,  79. 

of  small  two-part  do. ,  80. 

ADAGIO,  introductory  to  Allegro  of  So- 
nata, 315. 

ADDITION  to  principal  subject  of  So- 
nata, 233. 

ALLEGRETTO  of  7th  Symphony,  as  model 
of  2d  Rondo-form,  175. 

ALLEGRO  of  the  Tannhiiuser  Overture, 
324. 

ANACRUSIS,  3. 

ANDANTE  of  BEETHOVEN'S  Sonaia,  Op. 
7, 181. 

of  the  5th  Symphony,  as  model  of 

1st  Rondo-form,  171. 

ANTITHESIS,  20. 

ARSIS,  1. 

ARTICULATION  of  a  metrical  part,  122. 

AUGMENTATION,  rhythmical,  114. 


BALLAD,  188. 
BOLERO,  157. 
BOURREE,  157. 


B. 


C. 


CADENCE,  15. 

deceptive,  Note,  p.  177. 

C^SURA,  2. 

CLOSING-GROUP,  253,  seqq 
CODA,  61. 

COINCIDENCE  of  initial  and  final  meas- 
ure, 81. 
COMPOSITE  PHRASE,  16. 


COMPOSITE  LARGE  SONATA,  313,  seqq. 

COMPOSITIONS  IN  SLOW  TEMPO,  163. 

in  QUICK  TEMPO,  164. 

CONNECTING  LINK,  257. 

CONTRAPUNTAL  TREATMENT  of  motive, 
120. 

CORRESPONDENCE  of  musical  phrase- 
ology with  text,  189. 

COUNTERPOINT  in  the  Sonata-form,  120, 
269. 

D. 

DANCE-FORMS,  obsolete,  157. 
idealized,  ibid. 


DECEPTIVE  CADENCE,  Note,  p.  177. 
DECLAMATION,  in  song  composition,  186. 
DEVELOPMENT,  207. 

rules  for,  272,  seqq. 

in  the  Sonata  in  slow  tempo,  307. 

extended,  311. 

omission  of,  exemplified,  308,  309. 

shortened,  310. 


DEVELOPMENT-PORTION,  266,  seqq. 

DIMETER,  3,  6. 

DOMINANT  OF  THE  DOMINANT,  241  c. 

DOUBLE  PERIOD,  36. 

DOUBLE  PHRASE,  22,  44. 

DOUBLE  SECTION,  12. 

DOUBLE  THESIS,  41. 

DUALITY  IN  THE  SONATA-FORM,  195. 

E. 

EIGHT-MEASURE  PHRASE,  39. 

as  part  of  a  Period,  41. 

independent,  40. 

EXCEPTIONAL  PERIOD-FORMS,  28. 
ETUDE.  130. 

EXTENSION  of  large  two-part  primary 
form,  68,  seqq. 


258 


INDEX. 


EXTENSION  of  small  do.,  61,  seqq. 

—  of  large  3-part  do.,  71. 

—  of  small  do.,  65. 

EXTENSIONS   external   to  the  form,  90, 
seqq. 

F. 

FESTIVAL  MARCH,  144,  seqq. 

FINALE  of  BEETHOVEN'S  .412-major  So- 
nata as  model  of  4th  Rondo- form,  296. 

of  BEETHOVEN'S  Sonata,  No.  1,  as 

model  of  5th  Rondo-form,  303. 

• of  BEETHOVEN'S  Grand  Sonata  in 

C-major,  as  model  of  3d  Rondo-form, 
179. 

of  the  Sonata-form,  character  of, 

291. 

FUNERAL  MARCH,  153. 
— BEETHOVEN'S  in   afe-minor,  modu- 
lation in,  94,  seqq. 

—  form  of,  96,  seqq.,  154. 
CHOPIN'S  in  ftr-minor,  158. 

G. 

GALOP,  137. 
GAVOTTE,  157. 
GRAND  SONATA,  193,  231. 
GROUP,  191. 

GROUPS  in  the  Sonata-form,  194. 
GROUPINGS  of  measures,  irregular,  83, 
seqq. 

H. 
HALF-CADENCE,  Remark  to  15. 

—  replacing  modulation  in  the  Sonata 
form,  220,  241  t>. 

HARMONIZATION,  modern,  100. 

HOMONYMIC   KEY,    173. 

I. 

IMPROMPTU,     CHOPIN'S,    in  ^l?-major, 

164. 

INDEPENDENT  PHRASE,  17,  40. 
INFLEXION,  in  song-composition,  187. 
INTERMEDIATE  GROUP,  in  the  Sonata, 

194,  215,  241. 

INTERVAL-CONTRACTION,  112. 
INTERVAL-EXPANSION,  111. 

K. 

KEY  of  Sonata,  how  determined,  314. 
KUHT.AU'S  Sonatina  in  (7- major,  as  model 
of  Sonatina-form,  199. 


LARGE  PHRASE,  39. 

LARGE  SONATA-FORM,  perfect,  320. 

LARGE  THREE-PART  PERIOD,  46,  47. 

LARGE  THREE-PART  PRIMARY  FORM, 
56,  seqq. 

LARGE  TWO-PART  PERIOD,  41,  42. 

LARGE  TWO-PART  PRIMARY  FORM,  54, 
seqq. 

LARGO  APPASSIONATO,  BEETHOVEN'S 
Sonata,  Op.  2,  as  illustrating  the  1st 
Rondo-form,  170. 

LICENSES  in  the  Sonata-form,  279. 

LICENSE  as  to  the  place  of  the  The- 
matic work,  289. 

of  adding  an  Introduction,  286. 

of  lengthening  the  Coda,  287. 

of  modulation,  280. 

of    modulation   in   the   Sonata  in 

minor,  283. 

of  transposing  the  groups,  284. 


LIED,  Note,  p.  149. 
LIED-FORM  (song-form),  31. 
LINK-EPISODE,  194. 

M. 

MARCH,  143,  158. 

MENDELSSOHN'S  in  "  Midsummer- 
night's  Dream,"  147,  seqq. 
—  MOZART'S,  "alia  Turca,"  158. 

MOZART'S  in  "Nozze  di  Figaro,"  145. 

WAGNER'S,  in  "  Tannhauser,"  147. 


seqq. 

MAZURKA,  157. 
MEASURE,  1. 

MEASURES,  how  to  count  the,  3,  82. 
MELODIC  CONJUNCTION,  11. 
MEMBERS  OF  MOTIVES,  104,  123. 
METER,  1,  7. 
MIDDLE  PHRASE,  29. 
MILITARY  MARCH,  136, 143. 
MINUET,  159. 
MODIFICATIONS,  in  the  Sonata-form,  oi 

the  Closing-group  and  Coda,  265. 
of  the  Intermediate  group,  263. 


—  of  the  principal  Theme,  262. 
of  the  Secondary  Subject,  264. 


MODULATION-GROUP,    in    the    Sonata. 

Note.  p.  158. 
MODULATION,  unusual,  93,  100. 

MONOMETER,  3,  4,  5. 


INDEX. 


259 


MOTIVE,  2,  101,  seqq. 

MOVEMENTS  of  a  Sonata,  319. 

exceptional  transposition  of,  321. 

O. 

ORGAN-POINT,  in  BEETHOVEN'S  off-minor 

Sonata,  Fig.  261. 
OVERLAPPING  of  measures,  81. 
OVERTURE,  324. 

P. 

PENTAMETER,  3,  87. 
PERIOD,  19,  seqq. 

—  double,  36. 

exceptional  forms  of  the,  28. 

large  three-part,  46,  47. 

large  two-part,  41,  42. 

first  form  of,  24. 

—  second  form  of,  25. 

-  third  form  of,  26. 

fourth  form  of,  27. 

of  three  phrases,  29. 

PERIOD-FORM  in  the  Sonata,  235,  seqq. 
PHRASE,  8,  14, 15,  16,  17. 

-  double,  22,  44. 

independent,  17,  40. 

POLKA,  134,  135. 
POLKA-MAZJRKA,  138,  139. 
POLONAISE  (POLACCA),  143,  155,  157. 
PRELUDE  (VORSPIEL),  325. 
PRIMARY  FORM  (LIED-FORM),  31. 

large  three-part,  56,  Seqq. 

large  two-part,  54,  seqq. 

small  three-part,  48,  seqq. 

Q. 

QUADRILLE,  143, 156. 
QUADRUPLE  SECTION,  13. 
QUARTET,  313. 

BEETHOVEN'S  in  C-major,  Fig.  268. 

do.  in  J^ major,  Adagio  of,  Fig.  355. 

principal  subject  of,  Fig.  267. 

QUATERNITY  in  the  Sonata-form,  197. 
QUICK  TEMPO,  compositions  in,  164. 

Rondo  form  in,  172. 

QUINTET,  313. 

R. 

RECIPROCAL  DOMINANT,  241  c. 

REPETITION,  immediate,  of  the  prin- 
cipal subject  of  the  Sonata,  1st  move- 
ment, 232. 


REPETITION  in  the  Sonata-form,  213. 
REPETITIONS  of  the  text,  in  a  song,  185. 
REPRISE,  in  the  Sonata-form,  213. 
RETROGRADE  INVERSION,  118,  119. 
RHYTHM,  2. 
RONDO-FORM,  easily  confounded  with 

simple  primary  form,  Remark,  p.  139. 
RONDO-FORMS,    classification    of,    167, 

168. 
compared  with  the  primary  forms, 

165,  166. 

RONDO   OF   THE    FIRST    FORM,   close   of, 

169. 

episodes  of,  i&. 

theme  of,  ib. 

illustrated  in  BEETHOVEN'S  Largo 

appassionato,  170. 

in  the  Andante  of  the  5th  Sym- 
phony, 171. 

in  quick  tempo,  172. 

RONDO    OF     THE   FIRST    QUASI    SECOND 

FORM,  or  of  the  SECOND  QUASI  FIRST, 
180. 

exemplified  in  the  Andante  of 

BEETHOVEN'S  J^b-major  Sonata,  Op.  7, 
181. 

RONDO  OF  THE  SECOND  FORM,  illustrat- 
ed in  the  Allegretto  of  BEETHOVEN'S 
7th  Symphony,  175. 

RONDO    OF    THE    THIRD    FORM,   in  MO- 

ZART'S  small  Eh  Sonata,  178. 

illustrated  in  the  Finale  of  BEET- 

HOVEN'S  Grand  Sonata  in  (7-major, 
179. 

RONDO  OF  THE  FOURTH  FORM,  exem- 
plified in  BEETHOVEN'S  A  K-major  So- 
nata, Finale,  296. 

RONDO  OF  THE  FIFTH  FORM,  exem- 
plified in  BEETHOVEN'S  Sonata  No.  1. 
Finale,  303. 

•  in  slow  tempo,  exemplified  in  BEET- 
HOVEN'S .D-major  Sonata,  306. 

S. 

SARABAND,  157. 
SCHERZO,  159,  160. 

BEETHOVEN'F.in  the  7th  Symphony, 


161 ;  in  the  5th  Symphony,  162. 
SECTION,  8,  9,  10. 
SEQUENCE,  109,  126. 
SIMPLE  PHRASE,  16. 
SlXTEEN-MEASURE  PERIOD,  41,  42. 


260 


INDEX. 


SLOW  TEMPO,  Sonata-form  in,  exem- 
plified in  BEETHOVEN'S  D-major  So- 
nata, 306. 

in  the  e-minor  Sonata,  308. 

in  the  .F-major  quartet,  310. 

in  MOZART'S  (/-major  Symphony, 

312. 

SMALL  THREE-PART  PRIMARY  FORM, 
48,  seqq. 

SMALL  TWO-PART  PRIMARY  FORM,  31. 

1st  form  of,  33. 

2d  form  (in  major),  34. 

2d  form  (in  minor),  35. 

-  3d  form,  37. 

SOCIETY-DANCE,  133. 

SOXATA,  190,  313. 

BEETHOVEN'S  in  a  minor  (KREUT- 

ZER),  Fig.  269. 

key  of,  how  determined,  314. 

of  one  movement,  316. 

of  two  movements,  317,  318. 

so-called,  without  Sonata-form,  322. 

BEETHOVEN'S  in  ^-minor,  as  model 


of  the  minor  Sonatina,  1st  part,  209. 

SONATA-FORM,  190,  seqq. 

as  applied  in   the  classical   over- 
tures, 324. 
—  the  perfect  large,  320. 

SONATA-FORMS,  how  classified.  193. 

SONATINA,  193. 

in  minor,  1st  part,  209. 

BEETHOVEN'S  in  Cr-major,  2d  part, 


22G. 


do.  in  .(/-minor,  2d  part,  229. 
MOZART'S  in  e-minor,  2d  part,  227. 


SONATINA,    MOZART'S,  in  e-minor,  3d 

part,  217. 
SONG,  VOCAL,  origin  of,  182. 

composed  throughout,  188. 

composed  strophically,  188. 

SONG-GROUP    (Intermediate  Group)  in 

the  Sonata-form,  194. 
SONG-FORM  (primary  form),  31. 
STROPHE,  p.  254. 
STUDY  (ETUDE),  130. 
SYMPHONY,  313. 

T. 

TARANTELLA,  157. 

TETRAMETER,  3, 12, 14 

THEMATIC  WORK,  207,  268,  270. 

as  illustrated  in  BEETHOVEN'S  5th 

Symphony,  277. 

and  in  MOZART'S  C  major  Sym- 
phony, 278. 

THEME  OF  RONDO-FORM,  169. 

how  repeated,  ib. 

THEME  WITH  VARIATIONS,  129. 

THESIS,  1,  20. 

TRIALITY  in  the  Sonata-form,  196. 

TRIMETER,  3,  84. 

V. 

VOCAL  COMPOSITIONS  IN  SONATA-FORM, 

323. 

VOCAL  SONG,  182,  seqq. 
VORSPIEL  (PRELUDE),  335. 

W. 

WALTZ,  140,  aeqq.,  157. 


This  book  is  DUE  on  the  last  date  stamped  below. 

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